Alexe Poukine
Born in 1982, Alexe Poukine is a French filmmaker, screenwriter, and photographer based in Brussels. After studying drama and photography, she went on to study anthropology, documentary filmmaking in Lussas, and screenwriting at La Fémis. Petites Morts (2008), her graduation film, was selected at several international festivals. Her first feature documentary, Dormir, dormir dans les pierres (2014), was screened at many festivals. After one such screening, a young woman approached her, saying she had a story to tell but didn’t know how. That encounter became the starting point for her second feature documentary, Sans frapper (2019). She then directed her first fiction short, Palma, in 2020, followed by a third documentary, Sauve qui peut (2024), and her debut fiction feature, Kika (2025), which premiered at the Cannes Critics’ Week in 2025.
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Who Cares?
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Medical students in their early twenties and experienced care workers take part in medical simulations. Faced with comedians portraying patients, they learn to speak the right words, reflect on their reactions, and build a caring practice. But in an increasingly liberal hospital system, which itself exerts violence on medical staff, is this relational ideal really possible?
That Which Does Not Kill
Belgian women and men of diverse backgrounds respond to the rape of a young woman by weaving their own personal experiences and reflections into her story, provoking the sort of collective introspection that Me Too has necessitated.
Who Cares?
Subscription access
Medical students in their early twenties and experienced care workers take part in medical simulations. Faced with comedians portraying patients, they learn to speak the right words, reflect on their reactions, and build a caring practice. But in an increasingly liberal hospital system, which itself exerts violence on medical staff, is this relational ideal really possible?
That Which Does Not Kill
Belgian women and men of diverse backgrounds respond to the rape of a young woman by weaving their own personal experiences and reflections into her story, provoking the sort of collective introspection that Me Too has necessitated.
