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Des cailloux derrière ton dos (Marthe Perret, 2026)
Des cailloux derrière ton dos (Marthe Perret, 2026)

    Pebbles Behind Your Back

    Des cailloux derrière ton dos
    Marthe Perret, Belgium, Lebanon, 2026, 26’
    Film Fest Gent

    2026

    An impossible letter to filmmaker Marthe Perret’s grandfather guides a return to a family history she long kept at a distance. In Beirut, fragments emerge through daily life: an accent, old stamps, forgotten names, traces scattered across conversations and archives. As the director pieces together these clues, she begins to grasp how the Nakba of 1948 continues to resonate silently within the family, linking her grandfather’s story to a broader collective history.

    Pebbles Behind Your Back reflects on memory, censorship, and the ways families shape their own narratives while secretly transmitting their heritage.

    Des cailloux derrière ton dos (Marthe Perret, 2026)
    Des cailloux derrière ton dos (Marthe Perret, 2026)
    interview
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    Een onmogelijke brief

    Marthe Perret over Des cailloux derrière ton dos (2026)

    Bo Alfaro Decreton
    07.10.2026

    Met haar afstudeerfilm Des cailloux derrière ton dos brengt Marthe Perret een ontroerende inkijk in zowel de geheim gehouden geschiedenis van een familie, als in het Palestijnse verzet. De Nakba dwong Perrets grootvader in 1948 zijn bakermat te verlaten. Hij kwam in Libanon terecht, waar hij zijn vrouw leerde kennen. Om te kunnen functioneren op die nieuwe plek, hulde hij zijn afkomst in een waas van geheimzinnigheid. “Integratie is zo ook een verhaal van verscheuring,” preciseert de filmmaker. In een poging om de pijn, angst en het geweld buiten te sluiten, trokken haar grootouders zich steeds meer terug in hun appartement.

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    Credits

    Camera
    Marthe Perret
    Editor
    Marthe Perret
    Sound
    Juul Schöpping
    Film school
    KASK School of Arts
    535
    documentary history portrait

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    Carnations

    Martijn Van de Wiele, Belgium, 2021, 16’

    An artificial summer rules the greenhouse. Workers tend to carnations. In a multitude of splendid colours, they grow towards the sun until they’re ready to fulfill their cut-flower destiny. Carnations is an audiovisual meditation on movements within a carnation nursery close to filmmaker Martijn van de Wiele’s home.

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    À l’usage des vivants

    Pauline Fonsny, Belgium, 2019, 27’

    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. Through this film, they highlight the reality of detention centres: the harsh conditions of confinement, the suffering of detainees and the abuse by guards and police officers.

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    3723 km As the Crow Flies

    Oksana Luyssen, Ysé Auguste-Dormeuil, Belgium, 2024, 15’

    Obtaining official documents is a symbol of coveted freedom and security for migrants. But how do you navigate the administrative labyrinth? This film explores the relationship between identity, race, and European bureaucracy.

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    The Motherfucker’s Birthday

    Saif Alsaegh, Iraq, USA, 2024, 6’

    Through dancing, The Motherfucker’s Birthday shows the evil of the dictator and the horror people endure under powerful political leaders. The film presents dancing, a universal and uniquely human activity often representing joy, with eerie footage of Saddam and his sons’ torture tools while they dance.

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    Pirate Boys

    Pol Merchan, Germany, 2018, 13’

    Punk author Kathy Acker’s work is the starting point for a conversation about gender identity and body transformation and is linked to the punk movement of the 1970s and 1980s.

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    D’un château l’autre

    Emmanuel Marre, Belgium, 2018, 40’

    Pierre, 25 years old and on a scholarship for a prestigious Parisian university, is lodged by Francine, who is 75, disabled, and confined to her wheelchair. Both puzzled and disoriented, they witness the French presidential elections of 2017 play out.

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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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    I Don’t Feel At Home Anywhere Anymore

    Viv Li, Belgium, China, 2020, 16’

    A wistful but witty account of a trip to Beijing by filmmaker Viv Li, a Chinese art student who has been living abroad for ten years. Her stay with her family mercilessly exposes how uprooted she has become by her life abroad.

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