Der Hund is the first element in a moving image series that unmistakably contributes to the POAN identity. It’s a short experimental film based on an enigmatic story by Friedrich Dürrenmatt who makes a gruesome beast, the titular Hund, have its sway through a plot with three actors, a preacher father, his daughter, and a lover falling for her. What is this Hund? Is it pure evil, and that the only motive for its killing of the father? Yet, it also seems to have a sensual relationship to the girl, capable of some kind of emotional warmth, even rivalling the role of the lover, in a different mindset. 

The question arises whether it really is the girl that secretly controls them all, her masculine companions. Does she induce the beast to kill, so her lover can now wear the fatherly preacher coat, and relay a message to the world that she exerts full control of? Is it her who weaves all the threads together in this astounding storyline? Providing more hooks for questions than actual answers, the film follows the story very closely in this respect. It is a visual feast, featuring POAN fashion, yet providing the quality of a compressed Hitchcockian drama rather than merely constituting what is commonly called a ‘fashion film’.