Elias Vervecken

Three British teenage girls go on a rites-of-passage holiday—drinking, clubbing and hooking up, in what should be the best summer of their lives.

The story homes in on Lorik, who's barely thirty years old yet who works as an enforcer for the Albanian mafia in Brussels, alongside his mentor Aleks. And when Lorik falls in love with Sema, a Fine Arts student of Turkish origins, his past comes back to haunt him: a man hailing from Lorik's village in Albania, whose father was killed by the latter's uncle, tracks down the young man and demands that his family's debt be paid for in blood, as per the Kanun tradition. In short, he asks the clan for Lorik's death.

On an impulse to reconnect with her origins, Freddie, 25, returns to South Korea for the first time, where she was born, before being adopted and raised in France. The headstrong young woman starts looking for her biological parents in a country she knows so little about, taking her life in new and unexpected directions.

Two repeat offenders sentenced to community work in a learning center for the visually impaired decide to build and coach a blind football team.

The story begins in the basement of a worn-out blues bar in Louisiana in the 1980s. A few regular customers are having a drink. A guitarist gets on stage and everybody comments on the newcomer. The guitarist draws the attention of the audience by tapping the microphone. He introduces himself. He will tell them the true story of Blind Boogie Jones.

Snickers is a lonely mouse in a pet shop, craving to be bought by someone. But he has got one big problem: his huge ears. The kids entering the store keep laughing at him. Will Snickers find the buddy he so desires, someone who will take him for who he is?

Somewhere between the 1930s and now, the cameras start turning and Joan Crawford, Bette Davis and Marlene Dietrich gather on one film set. The floor gleams, the spotlights are burning, the narration starts. Born out of a fascination for the construction that is Hollywood, and by extension ‘the perfect Hollywood home’, the maker embodies three actresses from Hollywood’s golden era and their so-called private lives. Their smallest personality traits are performed so precise and characteristically that it becomes artificial. The home isn’t homely. It plays “house” and the inhabitants are speaking Hollywoodian. In this setting, the maker of the film recalls memories of growing up in her childhood home.