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  • Ours is a Country of Words
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  • Language Arabic
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part of
double bill #23

Ours is a Country of Words

Mathijs Poppe, Belgium, Lebanon, 2017, 42’
Visions du Réel

2018

Film Fest Gent

2017

VAF Wildcard Documentaire

2017

The story is 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. Yet, while families prepare for their return, it slowly becomes clear that this dream is far removed from their daily lives in the camp.

Ours is a Country of Words (Mathijs Poppe, 2017)
Ours is a Country of Words (Mathijs Poppe, 2017)
article
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Recurring Dreams

Mathijs Poppe’s Ours is a Country of Words (2017)

Yara Yuri Safadi
20.09.2025

The voice-over of a man with a Palestinian accent informs viewers that they are watching a “film”, highlighting the artifice of the images while also linking it to the reality of the Nakba. The man’s voice situates us as viewers within an imagined future, one “in which Palestine is free again.” Ironically, we watch this film in 2025, amidst the ongoing genocide in Gaza and the ethnic cleansing and apartheid in the West Bank. Juxtaposed with the harsh realities of the genocidal present, Ours is a Country of Words’s sci-fi-like imagination shows the desire for a future that is increasingly fought for. As the first dialogue unfolds, we are invited into this brighter future: Palestine is liberated, and refugees can return.

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Credits

Script
Mathijs Poppe
Cast
Ahmad Al-Jomaa, Bassem Dawood, Farah Hendawi, Hanan Hendawi, Hussein Deeb, Jamal Hendawi, Jihad Hendawi, Mo, Mohammad Abbas, Mohammad Hassan, Mohammad Zayat, Mona Hendawi, Nader Saed, Naim Abbas, Nidal Hendawi, Omran Kablawi, Sultane El Hasan, Wassim Saed
Camera
Mathijs Poppe
Editor
Mathijs Poppe
Sound
Ben De Raes, David Slotema, Ernst van Hagen, Kwinten Van Laethem, Michel Coquette
Film school
KASK School of Arts
Producer
Elisa Heene
387
documentary fiction politics history

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0.2 Milligrams of Gold

Diego Quinderé de Carvalho, Belgium, Hungary, Portugal, 2021, 24’

Eight thousand five hundred kilometres lie between the Amazon and the Ardennes. In his home country of Brazil, filmmaker Diego looks at the inaccessible forest from the outside. Its Belgian counterpiece, however, is easier to explore.

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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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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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Empty House

Gina Kim, South Korea, USA, 1999, 24’

This video diary depicts a young woman’s flat, the fears and fantasies about her body plainly revealed as she wakes up with a bloated face, full of self-loathing after a night of compulsive over-eating.

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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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Scum Mutation

Ov, France, 2020, 10’

In this cyberpunk animation, four creatures wobble like marionettes in a black void. An alien power tries to subdue them; police voices strike as if they were truncheons, but these vulnerable bodies start to fight back.

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Workers Leaving the Lumière Factory

Louis Lumière, France, 1895, 1’

A man opens the large gate of the Lumière factory in Lyon, France, in 1895. Through the gate and a smaller door next to it, workers stream out for lunch. Once all the workers have left the factory, the gatekeeper closes the gate again.

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Under the Sun

Eduardo Esquivel, Mexico, 2017, 15’

Ana’s life changes radically when she divorces at the age of 40. In front of her family, it gets harder every day to keep pretending everything is fine.

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