Line Pillet is a filmmaker based in Brussels. Through 16 mm imagery, her work gazes with tenderness at those who live on the margins. In her films vulnerability becomes a source of beauty. Her characters often anonymous or displaced, inhabit a world that excludes them, yet they keep reaching for connection.
In 2020, she was selected by Cité des arts Internationale Paris for a writing residency where she developed the script of her short film Window. The film premiered at Regard Festival 2023 (CA) where it was selected for the official competition. Afterwards, the film had a national premiere at Film Festival Oostende. This was followed by a selection at Cut To: Gent festival where the film won the award for best cinematography.
Her latest short film Un Matin was selected for the official competition of International Short Film Festival Leuven 2024 where it premiered for the opening night. In September 2025 Un Matin was screened as part of the official competition at the Greek Drama International Short Film Festival (DISFF).
WORK
2024 / Un Matin
2023 / Window
2021 / Chorus
After years of working as a screenwriter, I intend to make the transition to prose with Marchand—a novel that reads like a fictional biography, rooted in autofiction.
The story follows Lis, a successful forty-year-old theater actress who, following the death of her grandmother, moves into the latter’s now-vacant home. There, she is confronted with memories she had long suppressed. Across the way lives her father—the man who, twenty years earlier, vanished with the family fortune, leaving her and her mother behind in poverty.
What begins as a process of grieving gradually shifts into obsession. Lis creates an alter ego, adopting a false identity to deceive him. She seeks to reclaim what was taken from her family. Through this alter ego, Lis discovers a sense of freedom and strength that is missing from her own life. Her revenge becomes more than just a strategy; it becomes her anchor.
At its core, the story explores grief, poverty, and moral ambiguity, fueled by female rage. Marchand examines how loss can transform into vengeance—and how that transformation becomes, simultaneously, an attempt at restoration and an act of self-loss.