The Burrow

The Burrow

fiction film


Odile lives alone. Afraid that someone might enter her flat when she’s not at home, she enters a video surveillance online community, in the hope that users will keep an eye on her apartment and inform her in case of unexpected intrusion. And the intrusion happens: dark smudges appear on the walls. Furious, she decides to leave the community. While she tries to fight against infiltrations, she realizes that she is still on watch…



A tense psychological thriller which addresses the implications and anxieties surrounding user-generated surveillance. […] The Burrow charts the pathology of security and the performative aspects of online culture, channelling Kafka in its depiction of a woman losing something of herself by submitting to arbitrary and seemingly implacable power.

Daniel Palmer, The State of The Arts


Screenplay contest Nouveaux Cinémas 2014 (France) - Special Jury Award
Caminhos Film Festival 2015 (Portugal)
44ème rencontre cinématographique de Digne-les-Bains 2016 (France) - Young Audience Award
Tochka Dostupa Festival 2016 (Russia)
The New Classic Cinema Film Festival 2016 (USA) – Best Innovative Film Award
Southway Film Festival 2016 (Ukraine)
No Gloss Film Festival 2016 (GB)
Broken Knuckle Film Festival 2016 (USA) – First Prize (« Fantastic Fantasy » category)
North Portland Unknown Film Festival 2016 (USA)
Southern Colorado Film Festival 2016 (USA)
FAME’US International Film Festival 2016 (USA) – Silver Award
Meliorist Film Festival 2016 (India)
Madhouse Movies Film Festival 2017 (USA)
Bengaluru International Film Festival 2017 (India)
The Mespies 2017 (USA) – Best Literary Adaptation Award
RA International Independent Film Awards 2017 (Lituania)
Festival Internacional de Cine de Autor 2017 (Mexico)

Directed by Chloé Galibert-Laîné
Inspired by Franz Kafka's "Der Bau"
With: Marie Hasse
Production: Patrick Vuittenez
Cinematography: Bertrand Faucounau
Production design: Hélaine Zurcher-Karmensky, Camelia Zaoudi



Trailer available here:


This film was made thanks to the support of la Fémis, PSL, ENS, ENSAD and the Universität für Musik und darstellende Kunst.