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  • Henry is a Girl Who Likes to Sleep
Henry is a Girl Who Likes to Sleep (Marthe Peters, 2026)
Henry is a Girl Who Likes to Sleep (Marthe Peters, 2026)

    Henry is a Girl Who Likes to Sleep

    Marthe Peters, Belgium, 2026, 13’

    “Dear Henry, I love you, and I love who I am when I am with you, with our small heads and our constant longing for sleep, or at least for a horizontal life.” The filmmaker seeks in her beloved cat Henry something soft and tender to inhabit, a little fur to retreat into. Between bedsheets and freckles, a love declaration emerges. This fragile collage traces a pathway between intimacy, vulnerability, and warmth. An ode to the intimate worlds where we learn to live and to rest.

    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.
    Henry is a Girl Who Likes to Sleep (Marthe Peters, 2026)
    Henry is a Girl Who Likes to Sleep (Marthe Peters, 2026)
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    In the Bosom of Images

    Marthe Peters’ Henry is a Girl Who Likes to Sleep (2026)

    Öykü Sofuoğlu
    31.03.2026
    article

    Henry is a Girl Who Likes to Sleep finds the filmmaker once again looking back at herself, this time by orienting her gaze toward her beloved cat, the titular Henry—a chubby white feline with tricoloured splotches on her fur. Throughout the film, Marthe Peters delivers a playful voice-over addressed to Henry, drawing comparisons between their bodies, their unique habits and traits, while also questioning the love and affection she may be burdening her cat with.

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    496

    This film was highlighted in yanco’s magazine

    documentary portrait

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    Ours is a Country of Words

    Mathijs Poppe, Belgium, Lebanon, 2017, 42’

    Filmed in Shatila, a refugee camp built in Lebanon when thousands of Palestinians fled their country in 1948. At an undetermined moment in the future, the refugees’ dream of returning to Palestine becomes a reality.

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    Old Child

    Elettra Bisogno, Hazem Alqaddi, Belgium, Palestine, 2019, 16’

    Old Child depicts the fragmented story of Hazem, who had to flee Gaza. Throughout this stream-of-consciousness montage of dreams and reminiscences, he searches for order but also for the beauty he left behind.

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    The Stopover

    Collectif Faire-part, Belgium, DR Congo, 2022, 14’

    Filmmakers Paul Shemisi and Nizar Saleh embark on a journey from the Democratic Republic of Congo to Germany to screen their latest film. However, during a layover in Angola, their trip takes a harrowing turn when airport authorities question the authenticity of their documents.

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    Because We Are Visual

    Gerard-Jan Claes, Olivia Rochette, Belgium, 2010, 47’

    By means of visual material gathered from online sources, filmmakers Olivia Rochette and Gerard-Jan Claes create a unique poetic realm in which thoughts, fears, desires, and worries are shared via webcam, and merge together.

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