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Kaalkapje (Marthe Peters, 2024)
Baldilocks (Marthe Peters, 2024)

    Baldilocks

    Kaalkapje
    Marthe Peters, Belgium, 2024, 25’
    Berlinale Shorts

    2024

    Courtisane

    2024

    Today, filmmaker Marthe Peters is hailed as a medical miracle at the hospital. She has been cured, but not without suffering physical and mental damage from the treatments. Through the lens of her father’s camcorder, she looks back on a period she can no longer remember. Twenty years after surviving childhood cancer, she searches for traces of illness between scars and desires.

    Bio Marthe Peters

    Dutch filmmaker Marthe Peters lives and works in Ghent since graduating from KASK School of Arts in 2023. Her film Baldilocks premiered at Berlinale Shorts and went on to screen at festivals including Courtisane, Karlovy Vary, Seminci Valladolid, and at the Barbican in London. Her work depicts her daily reality in an intimate way, focusing on the banal as something important and worthy, as individuals search for solace and care for one another.

    © Kaalkapje (Marthe Peters, 2023)
    interview
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    Waar verhalen nooit komen

    Marthe Peters over Kaalkapje

    Bo Alfaro Decreton
    21.02.2024

    Marthe Peters’ Kaalkapje gaat deze week in wereldpremière als deel van Berlinale Shorts, de officiële kortfilmcompetitie van de Berlinale. In een gesprek met Bo Alfaro Decreton vertelt ze over hoe haar afstudeerfilm aan KASK School of Arts tot stand kwam.

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    Kaalkapje (Marthe Peters, 2024)
    Kaalkapje (Marthe Peters, 2024)
    artikel
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    Tedere pijn

    Marthe Peters’ Kaalkapje (2024)

    Michiel Philippaerts
    29.03.2024

    Al wat de pas afgestudeerde filmstudent Marthe Peters nodig heeft om te reflecteren op de spanningen en tegenstrijdigheden tussen het verleden en het heden, zijn verloren video-opnames uit haar jeugd. Aangevuld met nieuwe, poëtische beelden (handen die tekenen, een kat aaien, of met kaarsenvet spelen) en een doordachte voice-over, verkent Peters de littekens van een vergeten tijd uit haar leven.

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    Credits

    Camera
    Leon Decock, Marthe Peters
    Editor
    Marthe Peters
    Sound
    Leon Decock, Marthe Peters, Michel Coquette
    Film school
    KASK School of Arts
    211
    documentary coming-of-age portrait

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    Magic, a portrait of Joris

    Chloë Delanghe, Belgium, 2018, 15’

    In Magic, a portrait of Joris, images sourced from different periods in time are glued together. Worn-out VHS footage filmed by the artist’s father is placed beside 8mm images she filmed herself. Both have the same subject: one boy, both a son and a brother. Connecting images of then and now, a new narrative of remembering opens up.

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    Self-Portrait

    Jonas Mekas, USA, 1980, 20’

    In what one could call Jonas Mekas’ first video blog, the Lithuanian avant-garde filmmaker reflects on his life and the art of cinema and representation.

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    elephantfish

    Meltse Van Coillie, Belgium, 2018, 27’

    A ship drifts in the middle of an endless sea. Aboard is a crew of five. They all cope with boredom — some by trying to overpower it; others by escaping into a parallel world guided by dreams.

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    The Jungle Knows You Better Than You Do

    Juanita Onzaga, Belgium, Colombia, 2017, 20’

    Two siblings roam the mystical landscapes of Colombia, searching for their dead father's spirit. Their journey takes them from the city of Bogotá to the jungle, through realms of thought and deep into their haunted dreams.

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    The Summer Movie

    Emmanuel Marre, Belgium, 2017, 30’

    A film about highways, tourists, concrete picnic tables, and lukewarm melons. About a man who wants to leave and a child who stops him. A summer movie.

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    Da-Dzma

    Jaro Minne, Belgium, 2019, 16’

    Winter. A fifteen-year-old girl in a remote Georgian town tries to get closer to her older brother just as he decides to leave home in search of work abroad.

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    A Letter to Mohamed

    Christine Moderbacher, Belgium, Tunisia, Austria, 2013, 35’

    This is a cinematic letter to the title character, who left Tunisia and now lives in Belgium. Shot in the first year after the Tunisian revolution, this is a poetic journey through a troubled landscape. Between order and chaos, the film reveals a land of disillusionment but also of humour and hope.

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    +6 Gain

    Jorn Plucieniczak, Belgium, 2019, 26’

    Symen and Sam pass their time in the monotony of a post-industrial suburb. They seem to linger in a kind of perpetual twilight countered by the invisible presence of ‘hardcore’. While gaming, they end up searching for the core of their desires.

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