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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

    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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    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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    The Migrating Image

    Stefan Kruse Jørgensen, Denmark, 2018, 28’

    Following a fictional group of refugees across Europe, the film questions the overproduction of images surrounding real-life tragedies and deaths.

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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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    Before Then

    Mengzhu Xue, China, Germany, 2024, 30’

    Every form of communication involves deciphering codes. In Before Then, Mengzhu Xue attempts to confess a secret in the form of a letter in English, which she writes out phonetically in Chinese, and asks her grandmother to read out loud.

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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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    Herman@s (Les Adelphes)

    Hélène Alix Mourrier, France, 2021, 29’

    Mexico, October 2011. A mysterious dream gives birth to Cuco, a transgender latex pirate activist. This essayistic film follows their quest to create more recognition for the queer community.

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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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    Noonlight

    Kayt Schneider, Belgium, 1991, 10’

    Passing through the Noon Market in Brussels, filmmaker Kayt Schneider captures the peaceful, poetic coexistence of people and cultures.

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