Orane Stepczynski

Can a dog still be man’s best friend if that man is the Führer? Blondi explores the bizarre bond between Hitler and his beloved German Shepherd. From eating the crumbs under the table at the Führer’s birthday, to living in the confinement of the bunker, this film presents intimate glimpses of the dog’s daily life intertwined with the realities of war, depicting the oblivious pet's surreal impact on the Reich.

A group of middle-aged men dressed as the Nazi high command gather in London to attempt a crucial experiment: making the first film entirely shot by a dog.

Marie, a young doctor, experienced a miscarriage four months ago. Unable to grieve, the marriage to her French husband Jude starts to break apart. But when her parents pay them an unexpected visit, the world which Marie has built for herself so carefully starts to crumble.

The Flood reclaims the myth of Ophelia as a surreal, modern-day exorcism of the roles imposed on women. Cutting between the wild, untamed shoreline of Southsea and the suffocating stillness of a contemporary home, the film traces the invisible pressures; societal, bodily, and familial that demand containment. By removing Queen Gertrude’s distant narration and returning the story to Ophelia herself, her death is transformed from passive tragedy into an act of agency and release. As sky bleeds into sea and the body begins to fracture, the film drifts into a haunting descent through a fluid, uncontained mind.