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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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    This film was highlighted in yanco’s magazine

    documentary portrait

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    Love Goes Through The Stomach

    NEOZOON, Germany, 2017, 15’

    Dedicated to nutrition and the human attitude towards “production animals”, this YouTube-found footage collage provides disturbing insights into the behaviour of a Western affluent society towards animal products.

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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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    À l’usage des vivants

    Pauline Fonsny, Belgium, 2019, 28’

    In 1998, Semira Adamu, a 20-year-old Nigerian immigrant, died on Belgian soil of suffocation under a police pillow. Twenty years later, two women tell her story in a cry for justice.

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    Yarokamena

    Andrés Jurado, Colombia, Portugal, 2022, 21’

    In 20th-century Colombia, resistance fighter Yarokamena, a member of the indigenous Uitoto tribe, called for rebellion against violent exploitation of the rubber mining industry in the Amazone and invoked the spiritual powers of war.

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    Gestes du repas

    Luc de Heusch, Belgium, 1958, 23’

    This satirical ethnographic film shows eating Belgians in diverse contexts. Dinner scenes at weddings, funerals, Christmas, and New Year’s Eve portray a country: loneliness and community alternate, just as wealth and poverty.

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    Trains de plaisir

    Henri Storck, Belgium, 1930, 8’

    The beach and its sunbathers. A series of sketches, small moments that culminate in a wry, loving portrait of a Sunday at the beach.

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    Water and Salt

    Luisa Mello, Belgium, Brazil, 2019, 10’

    A journey through the consciousness of a woman whose country is under threat from a fascist government.

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    Trajectory Drift

    Iván Castiñeiras Gallego, France, United Kingdom, 2018, 24’

    In a container, sitting between crates of merchandise, two men talk about their exile. Their stories about the crossing of endless borders come together in a common dream: to reach England.

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