Allah Is a Stranger (2016, working title, work in progress)

This film is a participatory record of daily lives of residents from a local care home in Sefrou (Morocco). As Fatima E., a Berber woman narrates traumatic events from her life to the camera, her narrative is meshed with lives of other residents of the home, many of whom documented their daily victories and struggles through disposable cameras.

Black Bile Chronicles 1 (2019)

A response to Albrecht Dürer’s Melencolia whereby ominous cinegrams of his print intercut, like cascading razors, with an isolated woman’s fraught actions and, more particularly, inactions – evoking a cathartic rhythm of repression and reconciliation.


Dissident Archives (2017 - 2019, working title, work in progress)

Set in Sukhum, Abkhazia, citizens’ dreams, familial histories and scripted narratives are performed by the locals to produce a disquieting reflection on the nature of loss, global politics and failed scientific visions. At times oracular, this moving image piece is like a reverie, in which the sense of time is disrupted; ominous sounds and impalpable images point to the impossible, taxidermic future that is all but free from the ghosts of the past. The perilous Black Sea appears in the film as a premonition of the future of things past, moving but somehow never able to progress. Marrying fact with fiction, this film brings out tensions and potentialities between the artistic, scientific and socio-political imaginary.

I Think You Should Come to America (2017, USA/UK/Poland)

In I Think You Should Come to America the correspondence between two young and naïve penfriends serves as a vehicle to explore the dangers of seeing cultures different from our own as ‘other.’ Here a young Polish woman (myself), coming of age in the dying embers of Communist Poland, seeks escape in the re-imagined romance of the Native American life, through her correspondence with an incarcerated young Native American. Using only his letters to me, I present my pen-friend’s own need to escape, voiced to a montage of poetic imagery, presenting multiple views of both Poland and America at pivotal points in their history. What results is a nuanced and often contradictory picture that is left to the viewer to disassemble. In I Think You Should Come to America cultural conditions in which memories are created are exposed through the medium of film, as the viewer is asked to question the politics of cinematic representation.

Batum (2016, UK/Georgia)

Batum takes as its starting point my experience of near drowning in the Black Sea of Batumi, Georgia. As such, the film is induced with a desire for an auto-ethnographical self-interrogation. Images that feature in the film are a constellation of personal and prosthetic memories, acquired through historical and cultural knowledge as exemplified by the poems of Osip Mandelstam and Joseph Stalin, among other cultural tropes. While making Batum, I was set to explore a certain displacement of identity that emerges when we encounter past experiences. I sought to experience how memories become fiction once recorded and how in this process of recording, the camera itself holds a mysterious agency. The film also investigates how the complex relationship between personal and collective memories often subverts the social and political identity constructions. I am, above all, always interested in ways in which film, as one of the technologies of memory, can be seen as an innovative creator of memories themselves.

Fluchtpunkt (2015, UK)

Everything the Power of the World does, is done in a circle […] The earth is round like a ball, and so are all the stars […] Birds make their nests in circles […] The sun comes forth and goes down again in a circle […] Even the seasons form a great circle in their changing […] The life of a man is a circle from childhood to childhood, and so it is in everything where power moves […]
Black Elk, a medicine man and a visionary of the Oglala Sioux

Many beliefs and cultures perceive circle as a pure, divine shape. Da Vinci’s Vitruvian Man, positioned in a circle, symbolises perfect proportions. In Fluchtpunkt, the recurring and accidental circular patterns pervade the out-of-date film. They reinforce the ironic take on anthropocentrism as seen through the silently observed Stutthof concentration camp. Fluchtpunkt takes as its starting point traumatic occurrences in my family history to explore an auto-ethnographic impulse through a detached approach to filming.

Rehearsal (2015, UK)

Based on David Foster Wallace's short story ‘Signifying Nothing’ (2001), Rehearsal aims to examine the complex nuances of his literary language. Foster Wallace’s use of repetition, his strong sense of the ambiguous and absurd, as well as the intricacy of his American jargon appear even more visible when rehearsed by a Bulgarian theatre actor. Thus Rehearsal is therefore also a portrayal of a performer at work. Foster Wallace’s story is used here as pretext to portray the elusive nature of personal memory of a (possibly made up) traumatic event. 

In the Same Room (2014, UK)

Non-human creatures occupy human spaces. The disconcerting atmosphere is achieved here largely through Timothy Nelson's carefully orchestrated sound.