This project is a short film that tells us the story of Moufida , from a village in eastern Algeria, who decides to go and see his lover in Algiers by crossing the country on a moped. She finds herself confronted with the author of her story. A discussion between the two begins generating some tension.

"South Ajdabya" founded by Esraa Elfeky from Egypt and Saif Fradj from Tunisia, is a 2021st made collective of filmmakers interested in the north African desert, its mythologies, and anthropology.

In the media, there is a huge disconnect between Afghans represented and Afghans that I grew up with. I wanted to create a film showcasing a glimpse of my grandmother, Fariha, as to me, she embodies most of the Afghan women that I am surrounded by. Afghans are complex, joyful, humorous, emotional, and deeply intelligent people - too many times those qualities are overlooked by the shadow of violence, war, and oppression - but my people are so much more than that.

“where we are is always too far away” is an auto-portrait conceived as a diptych, presenting linear and non-linear spaces as a transient body. Shifting between movement and stillness, time speeds up, slows down, and gets lost in the landscapes of memory.

It is spring yet all is coloured by a season of grief. A child dances, the grapevine ripens. We press our ears to the glass and hear singing from afar. Suspended, together, we are an unlikely constellation. I hold the frame until I find the form.

Dear F... is a hybrid documentary that navigates the intricate connections between personal and collective histories. Intertwining stories of Algerian migrants and the diaspora. Born in the early 90s, the filmmaker discovers a collection of letters from this turbulent time that sheds light on the challenges faced by Algerians.

This short film takes the viewer on a journey through the heart of Nashville’s Kurdish community, sharing stories that resonate across generations. The film underscores the significance of archival work in preserving the rich history and traditions of the Nashville Kurdish community. It highlights the urgency of documenting the personal narratives, cultural practices, and communal struggles, ensuring that they are not lost to time.

Kamal and Jad two men in their twenties live together in an apartment. Kamal, traumatized from his nightmares, projects his fears on his boyfriend Jad. Their relationship becomes unstable until one of them realizes he can’t go on with it. He ends by leaving for another city.