Genres: short

  • Digital Evangelism

    Set in Montreal/Tiohtià:ke, where religious monuments and the remains of colonization can be found everywhere, Digital Evangelism observes technology’s increasing presence and replacement of religion in society. Juxtaposing catholic iconography, filmed on a vintage camera, with overlays of technology-themed GIFs notes how technology is worshipped, and internet usage feels like a religious experience, from AI being the all-knowing source, online figures being praised, and devoting hours a day to our phones.

  • The Years

    THE YEARS is a poetry film exploring life stages through various ages as experienced by different actors in a non-chronological order and time frame. Historical Super 8mm film footage mixes with digital recordings as the poem is voiced by the filmmaker/author. Questions of impermanence and the instability of time frame the histories indicated by the filmed images gathered by the artist over years of recorded witnessing.

  • Broca

    Using poetry, interviews with psychologists and survivors, and corporeal imagery, Broca is an experimental documentary hybrid that explores how the mind-body connection is altered after trauma. The Broca’s Area in the brain is involved primarily in speech production. During a traumatic event or when trying to recall a traumatic event, this area shuts down. This makes it harder for a survivor to talk about what’s happened. Our project offers a platform for survivors to tell their stories both verbally and non-verbally.

  • Linea ver

    Spring sculpts their fierce emergence. Aspen, cedar, red oak, lichen (and others) phytograms on super-8mm tri-x film. Language: plants

  • Custom Trailer Series: Austin Powers

    Exploring écriture feminine and the patriarchal biases still present in commercial cinema, “Custom Trailer Series: Austin Powers” reimagines the original Hollywood film through the structure of a starburst quilt pattern. The work exists both as a material object and the visual representation, drawing attention to the materiality of the filmstrip This is the first in a new series that reimagines Hollywood trailers as film quilts. Previous films made from quilts include c: won eyed jail (NYFF 2005) and Athyrium Filix Femina (For Anna Atkins) (NYFF 2016).

  • Salma!

    As Hadi is swept into a flood of childhood memories from Lebanon, he steps into the dreamlike whimsical world of Salma Zahore. A creature that encapsulates both the conflicts of his life and his declaration of love to the world. Neither male nor female, neither devout nor an atheist, neither dutiful nor deviant, both sexual yet celibate. Faceless, yet the face of hope for so many around them.

  • Phosphene

    Phosphene searches for the harmony between the acoustics and the image of sound. The film’s soundscape comprises natural and industrial sounds from the west coast of Canada. Inspired by these sounds, the image was created through cymatics – a process that visualizes sound vibrations through various liquid mediums.

  • Teta, Opi & Me

    Filmed entirely with an iPhone, Teta, Opi & Me is a tribute to conformity, tolerance and courage. It is a poetic, meditative, multilingual, and feeling-driven short film, documenting the intricacies of the artist’s playful process in capturing her grandparents’ enduring romance through social, political and racial adversity. He comes from Bethlehem, Palestine and she comes from Vienna, Austria. Incorporating poetic filmic scenarios, vérité scenes, interviews, and home movies, the work is an intergenerational dialogue that explores themes of family, love, and the intermingling of cultures.

  • My Grandpa Ivan

    A professional soccer player looks back on summers in a small Bulgarian town, recalling the deep bond he shared with his grandfather, who forever shaped his love for the game.

  • and the story remains

    After years of silence, a woman returns to a memory she was once forbidden to recall. As she develops forgotten images, the past surfaces in fragments of light, grain, and the slow emergence of a face. The film lingers between past and present, exploring whether enforced silence can wound more deeply than the trauma itself.