Romain Blondeau

Romain Blondeau’s film slate? Yeah, it’s kind of an eclectic trip through complicated families, weird obsessions, and people just trying to figure out who the hell they really are. Scarlet (2022) is probably the most dreamy of the bunch—think postwar Europe, a kid growing up with a dad who can’t quite get past his own heartbreak. There’s puppeteering, a sweet little bit of magic realism, and more longing glances than you can shake a stick at. The whole thing feels like someone reading you a fairy tale but with a few cigarettes and a lot of rain. Then there’s Morrison (2023), which totally flips the vibe. Rock ’n’ roll, late nights, a main character who’s absolutely convinced he’s the second coming of Jim Morrison—except, you know, he’s living in some dead-end European city where nobody really cares about The Doors. It’s messy, loud, and kind of hilarious, but there’s a real sadness behind all the swagger. You watch this guy try to live out his wildest fantasies and, honestly, just keep crashing into reality. It’s got a gritty style, lots of handheld camera, and a soundtrack that’ll probably stick in your head for days. And then My Father’s Son (2025) is coming down the pipeline. The buzz? It’s supposed to be this raw, gut-punch drama about what it means to be a son, a father, and just a flawed human in general. Rumor has it Blondeau’s leaning hard into those awkward, quiet moments—the stuff people never say out loud. If his past work’s anything to go by, expect some heavy emotional lifting, a couple of weird laughs, and enough humanity to make you squirm just a little.