Anna Belguermi

Anna Belguermi pops up as this fascinating figure in the world of cinema, a chameleon who doesn’t really fit in any one box. She’s got this thing for exploring the weird mashups of identity and culture, you know? In “WESTERNIZED KOREANESS= HYBRIDIZATION AND, LOVE.” (2018), she dives headfirst into the chaos of what happens when East meets West—think clashing traditions, awkward family dinners, and a whole lot of heart. It’s not preachy, just raw and oddly charming, with characters who are a mess in the most relatable way. Jump to “Ulysse Doit Partir” (2021), and the vibe totally shifts. This one’s about leaving—physically, emotionally, all that jazz. Ulysse is stuck, not just in his town but in his own stubbornness. The film’s got that dreamy, restless energy, the kind you feel when you know you need to go but something keeps you glued to the same old spot. Belguermi’s style is all about those little details—a lingering look, a half-finished sentence—that say way more than any dramatic monologue. Then there’s “friends” (2016), which, yeah, sounds basic, but it’s anything but. It’s messy, funny, sometimes painful, just like real friendships. No big explosions or wild plot twists, just the everyday stuff that makes you realize how complicated and beautiful life can be. Belguermi’s work hits hard because it’s honest, and honestly, that’s pretty rare. She doesn’t care about easy answers—she’s more into asking the weird questions we’re all kind of afraid to say out loud.