Catalogue 2025-2026

Shifting perspectives from the visual to the aural, this film is a result of research into the Central Asian holdings of Arsenal’s archive. It explores the evolution of sound, speech, and music in local cinema from the 1960s to the 1990s. By listening to characters’ concerns through dubbed voices in addition to soundscapes and soundtracks, we can trace the impact of Soviet ideology, its gradual weakening, and the rise of Perestroika’s freedom. Although the archive, with 45 films from Central Asia, cannot represent all of the region’s political and social shifts, it does offer a valuable basis for analyzing how evolving sound reflects broader transformations over three decades. “Whose Voice Is This?” was commissioned by Arsenal – Institute for Film and Video Art in the framework of a Living Archive Residency supported by the Goethe-Institute Uzbekistan. Central Asian Research Collective DAVRA Germany, Uzbekistan, Kazakhstan 2024

Dana Iskakova is an artist and cultural practitioner from Almaty, Kazakhstan, currently pursuing an MA in Fine Arts at the Basel Academy of Art and Design. She previously studied finance at the International IT University and liberal arts at Smolny College. As a member of the DAVRA research group, she participated in documenta 15 (2022) and Archival Assembly #3 (2024). In 2023, Iskakova presented the printed magazine on fictional contemporary art called “If” and its first issue, created in collaboration with the MATA collective. Her practice explores the intersection of truth and fiction, perception, and collective imagination.

Camo is a man living in a small town in West Texas with his dog. Hidden in the seat of his red pickup truck, he watches cowboys riding horses at rodeos. During a night of observation, his gaze stumbles on a man whom he begins to follow obsessively. From a car chase on the roads of the Texan desert to the inside a silent bedroom, Camo's impulses lead him into playing a dangerous game from which a repressed desire arises.

Built from the audio tracks of dubbed vampire films and footage from home movies, Les immortelles is a film collage in four chapters that places mother-daughter relationships at the heart of a tale on immortality. As they come together and grow apart, the floating, recombined bodies seek to coexist between life and death. Featuring members of my family (the mother, the daughter, the sister, the granddaughter) this film explores the traces of the memories that we carry within us, and that, ghost-like, prolong our lives outside of ourselves.

Myriam Jacob-Allard is an interdisciplinary artist who works primarily with video, performance, craft and installation. Her practice focuses on popular culture and drawing on collected stories as well as on songs and family myths, her work reflects on matrilineal transmission, memory and forgetfulness. Her work has been presented in numerous solo and group exhibitions, as well as in international festivals. Screenings of her work include: IFF Rotterdam, Ann Arbor Film Festival, The Beijing International Short Film Festival, Festival Cinémas Différents et Expérimentaux de Paris (Jury Prize), Dok Leipzig, Uppsala SFF, IFF Message to Man (Centaur Prize for Best Experimental Film), Tallinn Photomonth, among others, and recent exhibitions include: National Museum of Fine Arts of Quebec, Künstlerhaus Bethanien à Berlin, Glassbox Sud à Montpellier, Glassbox Nord in Paris, Dazibao in Montreal, Montreal Museum of Fine Arts, Mains d’oeuvres in Paris, La Biennale Musée d’art contemporain de Montréal. She holds an MFA in Visual and Media Arts from UQAM. The recipient of many grants and awards, she was awarded the Claudine and Stephen Bronfman Fellowship in Contemporary Art (2015), she received the Quebec Studio in Paris Grant (2022) and the Quebec Studio in Berlin Grant (2025).

A lone airplane flies high over a dark landscape. Amid fields of untouched snow a rover is scanning both the ground and the stars, and is beginning to be troubled by the history it was once fed. People isolated inside the plane try to interpret the rover’s increasingly complex messages, while attempting to uncover the past and the future.

Appu Jasu (b.1987) is an artist living in Helsinki working with video, sound, photography and text. In his works fiction, documentary and the absurd meet and exchange ideas about life and society. His practice involves thinking through all the included mediums – picture, text and sound – each taking their turn leading the artwork into a new direction. Jasu’s video works can be found from the collections of Museum of Contemporary Art Kiasma and Helsinki Art Museum, and they have been shown e.g. in WNDX, Canada and in doclisboa, Portugal.

Synopsis Uncle Dog is an experimental short film made from footage I shot around 2010, when I first discovered the DV camera and filmed obsessively, recording everything around me. Years later, after completing two feature documentaries, I revisited these early images and was struck again by their raw intensity. The film uses material shot in the rural village where I grew up, combined with a narration written in memory of my uncle, “Dog.” By merging old footage and personal text, Uncle Dog explores memory, loss, and the passage of time through the rediscovery of early images.

Director Biography - Jiang JIN Jin Jiang, born in 1989 in Luoyang, China, is an independent documentary filmmaker currently based between Beijing and Tokyo. His films are internationally recognized for their profound social insights and unique narrative style. His works have been selected by Berlinale, Busan, IDFA, MoMA, and other international film festivals.

Particles is a performative 2 screen video, filmed with drones unfolding a machine-vision. 2 female clones - a plague doctor - a future scientist on a journey seeking and measuring the state of our planet.

HANNE NIELSEN (1959) & BIRGIT JOHNSEN (1958). Lives and works in Denmark. MFA the Art Academy of Jutland: artist duo working with video and installations, sculpture, and objects.

Set against the impending closure of Duke University’s century-old herbarium—home to over 825,000 dried plant specimens—The Ferns weaves together personal, political, and scientific narratives to explore the entangled histories of botany, identity, and resistance. At the film’s center are Kathleen Pryer, the herbarium’s director, and feminist theorist Banu Subramaniam. As one recounts naming a group of ferns after pop icon Lady Gaga—a decision rooted in queer identification—she opens deeper conversations about naming and categorization. The other traces how colonial sexual norms have long shaped botanical science, imposing binary gender onto plants and erasing more fluid, diverse reproductive systems. Woven between the two are drag performers who animate the herbarium’s archive, lip-syncing to Poker Face in glittering Gaga-inspired costumes among the rows of dried specimens. They become the Gaga ferns—blurring science and fantasy, taxonomy and play. Shot in North Carolina, where anti-LGBTQ+ legislation continues to threaten queer and trans lives, The Ferns situates the herbarium not just as a site of preservation, but as a stage for contesting dominant narratives. Special thanks to Dr. Banu Subramaniam and Dr. Kathleen Pryer for sharing their work, as well as performers Lotus Lolita, Portia Foxx, and Poison. Thank you to Assistant Director Vida Zamora and editor Rafe Scobey-tahl.

Erin Johnson is an artist and filmmaker based in New York, NY. Johnson received an MFA and a Certificate in New Media from the University of California, Berkeley in 2013, attended the Skowhegan School of Painting & Sculpture in 2019, and has participated in residencies at the Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Cultural Council (New York, NY), Hidrante (San Juan, PR), Lighthouse Works (Fishers Island, NY), among others. She was a 2024 Working Artist Fellow at Pioneer Works (Brooklyn, NY). Her work has been exhibited or screened at venues including e-flux (New York, NY), BOAN1942 ARTSPACE (Seoul, KR), BOFFO (Fire Island, NY), Rencontres Internationales (Paris, FR / Berlin, DE), BIENALSUR (Buenos Aires, AR), MOCA (Toronto, CA), Munchmuseet (Oslo, NO), Sanatorium (Istanbul, TR), Times Square Arts (New York, NY), etc. galerie (Prague, CZ), Cinalfama (Lisbon, PT), deCordova Sculpture Park and Museum (Lincoln, MA), Billytown (The Hague, NL), Galleria Eugenia Delfini (Rome, IT), and REDCAT (Los Angeles, CA). Johnson is the Undergraduate Director and faculty member of the Studio Art Program at New York University.

There is a common misconception that time is linear, the present an illusory synchronicity of the experiential ‘now’; a notion that when we face forward, we are facing the future and that the past is behind us. But what happens when we look up? What are the possibilities when we engage in the unlimited non-linear potentiality of time, its circularity, countless realities and multiple cosmologies.

Hannan Jones is an artist of Algerian and Welsh origin raised on Whadjuk Noongar Boodja, who is based between Glasgow, Scotland and Marseille, France. Research-led and process driven, she practices at the intersections of moving-image, installation and sound. Jones deep-dives into concepts of hybridity, language, and rhythms that are associated with cultural and social migration, and psychogeographic locatedness. In moving-image, Jones works predominately with 16mm and super 8 formats. She has also contributed sound design to award winning short films such as ‘In Praise of Slowness’ dir. Hicham Gardaf and ‘The Flowers Stand Silently, Witnessing’ dir. Theo Panagopoulos. Sonically, Jones’ approach is rooted in improvisation, electronics, music concrète, and analogue recordings. Using samples and layering of audio material to create alternate possibilities, reclaim parallel histories, and reimagine connections between them. Jones’ work has been featured in numerous presentations and screenings, such as the London Short Film Festival; Alchemy Film and Moving Image Festival, Selected 13 UK tour at Nottingham Contemporary, Contemporary Centre for Arts, Glasgow, Fabrica, Brighton, John Hansard Gallery, Southampton, Royal College of Art, London, in addition to MENA Film Festival in Vancouver; Archive Sites at SAVVY Contemporary, Berlin; Triangle, Marseille; Artes Mundi and the National Roman Legion Museum, Caerleon; Wysing Arts Centre, Cambridgeshire, CCA Annex; Cafe OTO, London; and Counterflows, Glasgow.

'These images are not about people, they are about results', so begins the film's first chapter spoken to a hollowed out, once grand facade of a railway station, its name still vividly written in Georgian, Abkhaz and Russian. Now it stands abandoned in an overgrown plot, shattered columns dangling precariously like broken limbs. This You Must Remember is a film that explores notions of suspended trauma and aftermath in post conflict Abkhazia, a de facto state in stasis since the Georgian-Abkhaz war (92/3). The external image of Abkhazia is most often reflected through the ruins and detritus of war that scar its cities and landscape. The film creates a counter narrative, drawing from the personal recollections of those who remain, who knew those ruins as homes and schools, as places of work and enjoyed places of leisure. Their memories, reworked into narrative scripts, are retold by them through voice performance, interleaved with historical footage and imagery of the place as it looks today. What emerges is an alternative form of documentary exploring notions of fragmented memory and psychological truth - a close-looking narrative that unfurls the traumatic process of ruination and the notion that any society's stability is an enduring condition.

Sam Jury is an artist filmmaker who works across the forms of moving image, sound and installation. She frequently collaborates with other disciplines, such as choreographers, writers and psychologists. For many years she has been interested in what she terms ‘suspended trauma’ - unresolved events replayed through shared narratives often supported by screen technologies and what cultural theorist Rob Nixon calls 'slow violence' - the long, drawn-out effects of disaster. Current collaborative projects, with insider practitioners, include Stories of Unexpected Loss, a series of hybrid performances (theatre and visual art installation), driven by contemporary narratives and verbatim conversations within post-conflict Abkhazia. And Mistaken Malady, a film and installation that uses the forms of editing, sound, choreography and text to embody the nuanced and complex presentation of Tourettes Syndrome.

In the high Himalayas, the village of Lohari, once alive with myth and spirit, is now submerged beneath the waters of a hydroelectric dam. The last boy of the Jaunsari indigenous community, living in the remnants of his flooded village, recalls a time when gods roamed the mountains, labourers turned into lizards, and the land pulsed with magic. Through letters to a girl who left long ago, the boy’s tale unfolds, blurring the lines between reality and myth. As the boy navigates the barren landscape, his memories twist into the supernatural: a world where the past lingers, where the living and the dead merge, and where the rains no longer bring joy.

Yashasvi is a self-taught filmmaker, screenwriter, and producer from Uttarakhand, India. His short film The Last Rhododendron won the Gender Sensitivity Award at the Dharamshala International Film Festival (2021) and competed internationally at the Mumbai International Film Festival (2022). In 2023, he was a finalist in Netflix’s Take Ten programme, where he developed his debut feature, The Ink-Stained Hand & the Missing Thumb. His short documentary Rains Don’t Make Us Happy Anymore had its world premiere at Visions du Réel International Film Festival (2025), competing in the International Short and Medium Length Competition. The film has since screened at festivals including the Beijing International Short Film Festival, FIDBA – Buenos Aires, Bangkok International Film Festival and won Best Short Documentary at the Oslo Film Festival (2025) His debut feature, The Ink-Stained Hand & the Missing Thumb, was selected for the Hong Kong International Film Festival Industry – HAF 2025 Work-In-Progress Lab. A Doc Producing South alumnus, Yashasvi was also selected for the Directors Program by the Red Sea Film Foundation – Red Sea Lab, where he was mentored by filmmaker Spike Lee.

Dreams Station (2024) is the latest iteration of Dejan Kaludjerovi?’s long-term project Conversations, based on audio-recorded interviews with children from around the world. This immersive film presents the voices of children from Dnipro, recorded just one month before the outbreak of the 2022 Russian-Ukrainian war. Their answers to the question “What are you dreaming about?” echo through the deserted Dnipro-Lotsmanska Station, once crowned by the monumental mosaic The Metallurgists—a symbol of a glorified industrial future now frozen in decay. As the camera slowly reverses its movement, distancing itself from the heroic figures on the wall, the children’s dreams—fragile and intimate—seem to move in the opposite direction of progress, dissolving into the metallic hum of the abandoned space. Concealing their bodies, Kaludjerovi? transforms their voices into spectral presences, suspended between departure and arrival, hope and despair. Dreams Station becomes both elegy and resistance: a meditation on unrealized futures and the resilience of imagination in the face of destruction. Through the acousmatic soundscape, the work transforms the derelict station into a site of haunting beauty, where children’s dreams, though silenced by war, continue to resonate—ephemeral yet enduring.

Dejan Kaludjerovi? was born in Belgrade, Yugoslavia. He studied at the Academy of Applied Arts in Vienna in the class of Erwin Wurm and earned an MA in Visual Arts from the Academy of Fine Arts in Belgrade in 2004. For his achievements in visual arts, he was granted honorary Austrian citizenship. Kaludjerovi? is the co-founder of Verein K – Kunst, Kultur, Kommunikation in Vienna and, from 2023 to 2026, serves as a member of the advisory board of Kunsthalle Exnergasse. His work has been presented internationally in numerous solo and group exhibitions across Europe, the USA, South America, Asia, and Australia, including the 60th Venice Biennale (Vlatka Horvat’s Croatian Pavilion, 2024), Lentos Kunstmuseum (Linz), Whitechapel Gallery (London), Ballroom Marfa (Texas), Steirischer Herbst 21 (Graz), Weltmuseum Wien, Museum of Contemporary Art Belgrade, Essl Museum, and Museum of Contemporary Art Taipei, among others. He has participated in major biennials such as Bucharest, Athens, and Ljubljana, and was the winner of the 55th October Salon Award (Belgrade, 2014). Recent residencies include KAMOV (Rijeka), Dnipro Center for Contemporary Culture (Ukraine), and Toba?na001 (Ljubljana). In 2017, he was nominated for the MUMOK – Kapsch Contemporary Art Prize. He lives and works in Vienna.

In life, there are certain situations where people have to learn to move on from the past and live life, adapting to new perspectives. During this process, certain things cannot be preserved, while others are constantly remembered, reinforced, and eventually coalesce into beliefs. While delving into the memories of family within this belief, I discover plausible traces derived from the history of East Asia and ideology originating from geopolitics. By seeking out fragmented pictures of past memories and reenacting them, I attempt to reassemble the ideological tension derived from fragmented beliefs in the past and present, visualizing it in the form of a textual narrative.

Yan-Zhi Kang is a visual artist based in Berlin, currently studying Art and Media at the Berlin University of the Arts. His practice examines historical archives, communication media, and national narratives through field research, interviews, and the reconstruction of fragmented histories. By intertwining personal narratives with broader historical contexts, he reveals the ideological structures embedded in images and archival materials. Through a poetic yet analytical approach, his work explores how media shapes personal and collective memory, uncovering the complex interplay between contemporary life and historical consciousness.

Misdirected Impulse shows deserted natural and park landscapes in long, static shots. Picturesque arrangements of trees and bushes unfold quietly, until the sudden appearance of a smoking light ruptures the calm. The following staccato of short shots, in which the light is directed equally at the camera and the viewer, is an attack on gaze and perspective, dissolving romanticized notions of nature.

Eginhartz Kanter (*1984, Leipzig) studied Fine Arts, Cultural Studies and Photography at the University of Arts and Design Linz, the Academy of Fine Arts Vienna and the E?cole Nationale Superieure des Beaux-Arts in Lyon. In his artistic approach he questions the boundaries and conventions of everyday life and living environments. His (sub)urban interventions negotiate aspects of the public and often have a direct relation to architecture. Previous films: Conveyor (2025); Prelude (2022); Taking Away (2018); Aufstieg (2016); Transient II (2013) Downloads

Diary of Eve’s Land draws from a series of video interviews Kyoko Kasuya, Japanese artist, filmmaker conducted in Jeddah, Saudi Arabia, in 2023. Through social media, she invited women to participate in the project, ultimately bringing together five individuals from diverse backgrounds: a doctor, a psychologist, a medical student, an IT professional, and an immigrant studying at an online university. Against the backdrop of Saudi Arabia’s sweeping societal transformation under the Vision 2030 government initiative, the work captures candid testimonies and everyday footage of women navigating the tensions between societal expectations and their personal aspirations. At the same time, Kasuya’s perspective as a Japanese woman—shaped by her own confrontations with society—traces the figures of Saudi women from behind, creating a documentary of intersecting gazes.

Kyoko Kasuya is a Japanese visual artist and filmmaker based between Paris (France) and Tokyo (Japan). After studying African American literature at Aoyama Gakuin University in Tokyo and gaining brief experience in the corporate sector, she moved to France. Marked by her grandfather’s accounts of the Second World War, she developed an interest in the wartime diaries of two student soldiers, Hachir? Sasaki and Tokumitsu Takushima, published under the title Listen to the Voices from the Sea (Kike Wadatsumi no Koe). This research inspired her films Listen to the Voices of the Sea (2019) and Silence Bleu (2022), which were screened notably at WIELS in Brussels and at Kino 35 of the Institut Français in Prague. During the first lockdown in France in 2020, Kasuya joined The Crown Letter, an international women artists’ collective, with which she exhibited in Paris, at BIENALSUR in Argentina and Uruguay and at KYOTOGRAPHIE (KG+) in Kyoto. In 2023, she received the Allotment Travel Award for her film Diary of Eve’s Land, shot in Jeddah and premiered at MEM Gallery in Tokyo and the Yebisu International Festival for Art & Alternative Visions 2025.

In the short film Stupor a traumatizing attack —recounted by a voice off-scree — is anticipated and thereby narrowly averted. The film is set in a dark, eerie ice rink where several people come into view via slow-motion camera movements. Video and audio seem to run on separate tracks.

Berlin-based artist and filmmaker Leonie Kellein works across moving image, sculpture and installation to explore how perception is shaped, and at times unsettled, by the technologies that frame it. Her practice examines the tension between bodily awareness and mechanical recording, creating moments where seeing becomes an embodied and uncertain act. Through this focus on the filmic gaze, she investigates how acts of looking reveal the politics and material operations of the image itself. Kellein’s current research extends into the areas of trauma, memory and spatial disorientation. Her recent works consider how the body registers imbalance, translating psychological and sensory states into cinematic form. Using techniques such as the Vertigo effect, she transforms optical distortion into a means of sensing the unstable connections between body, machine and world. Leonie Kellein holds an MA Artists’ Film and Moving Image degree from Goldsmiths, University of London (2022), as a DAAD scholarship holder, as well as a BA in Fine Art (2020) from the Academy of Fine Arts Hamburg. She has recently presented her work at the Falckenberg Collection of the Deichtorhallen Hamburg, Kunsthalle Basel, Art Basel, Kunsthalle Wilhelmshafen, Kunstverein Freiburg and the International Filmfestival FID Marseille, amongst others.

African Union responds to 2018 reports of Chinese surveillance at the African Union Headquarters in Addis Ababa. Made with generative AI, commercial stock imagery, and documentary footage, the film explores digital imperialism, data extraction, and the ideological entanglements of AI within the evolving dynamics of China–Africa political and technological relations.

David Kelley’s work traces the hidden ecologies of global infrastructure—from deep-sea mining and the Silk Road to Alberta’s oil sands and the extraction of rare earth elements in China. Working across film, photography, installation, and sculpture, he explores how technology, modernity, ecology, and memory operate as interwoven systems of mediation. His practice draws on essay film, experimental ethnography, and experimental theater, using form as a site for affective experience, ambiguity, and transgression. Kelley approaches research as an aesthetic process, privileging sensorial and speculative modes over purely discursive ones. His projects often involve site-specific production, archival research, and the integration of everyday objects and theatrical constructions within immersive environments. Scientific specimens—borrowed from natural history collections or reimagined in glass, ceramic, and stone—anchor his installations in material history while opening space for surreal and speculative encounters. His work has been exhibited internationally at the Museum of Modern Art, New York; Rencontres Internationales Paris/Berlin; and The Bank, Shanghai. Upcoming presentations include LACMA in Los Angeles and the Global Visions FotoFest Biennial 2026 in Houston. Kelley holds an MFA from UC Irvine and was a 2010–11 Whitney Independent Study Program fellow.

Looking down at the Brisbane River–a play of masking and superimpositions. Sound by Samuel La France. Made in residency at Container, Brisbane and nanolab, Daylesford.

Chris Kennedy (b. 1977 Easton, Maryland, raised Cambridge, Maryland) is an independent filmmaker, film programmer and writer based in Toronto. He is the Executive Director of the Liaison of Independent Filmmakers of Toronto. His short experimental films have screened at over one hundred film festivals worldwide.

Where I'm calling from was an exhibition of new work by Netherlands-based artist Minne Kersten. Working with the architecture of David Dale Gallery, Minne constructed a detailed and evocative environment exploring the narrative capacity of inanimate objects, and their role in triggering memory in a transportative way. Minne takes a literary approach to her work, blending installation, video, sculpture and drawing to craft the backdrop of a fictional world. Through her immersive installations, she reveals buildings to be receptive to stories and traumas, as she stages situations subjected to chaos, decay, and deconstruction. Minne explores the traces of events left behind and exposes them as witnesses of private stories retained by the walls that surround us. Her work considers the relationship between the real and imagined, the ordinary and the uncanny, and poses questions about memory and its reconstruction. Working across a range of media, she interweaves personal themes such as mourning, loss and memory with the collective domain of fiction, fables, and symbols.

Minne Kersten (1993, NL) is an artist based in Paris and Amsterdam, working with video, installation and paintings. Underneath these media lies a literary approach in which she combines several techniques to construct a world where objects and scenes hold traces of both facts and fiction. She speculates on how we can recall events, memories and stories, by tracing what is lost in what remains. Her work considers the relationship between the real and the imagined, the ordinary and the ephemeral, and poses questions about memory and reconstruction. By drawing attention to the act of construction in both our shared real and imagined world, her work offers a connection between intimate themes such as mourning, loss and desire, and the collective domain of fiction, fables and symbol making. Painting and drawings are continuously made during a process of introspection and research. They serve as a form of visual note taking, made alongside her spatial approaches. In recent years, she has used the method of crafting an architectural environment, which reveals itself as a scenography, a film set, and subsequent sculpture. Often informed by personal encounters with spaces, these sculptures provide a tangible terrain to explore how a space can witness or distort stories and events. By staging situations that embed symbolic elements such as the appearance of animals or phantom presences, she refers to ways of how the past can leave impressions on the present. Subjecting her scenes to chaos, decay and disruption, she suggests different outcomes of the familiar circumstance of feeling unstable, losing control and reaching a state of transition.

The Zeppelin Grandstand on the former Nazi Party Rally Grounds in Nuremberg is one of the most well-known architectural remnants of the Nazi era. Where the masses once gathered to cheer Hitler, today car races and various leisure activities take place. The film explores the tension between remembrance and neglect, use and responsibility - and poses the question: in a time of rising right-wing extremism, how do we engage with a place built for a criminal ideology that nonetheless remains woven into the fabric of daily life?

Saskia Kessler studied European Studies at Maastricht University and Sociology at Friedrich-Alexander University Erlangen-Nuremberg before discovering her passion for filmmaking. Since October 2022, she has been studying documentary film directing at the University of Television and Film Munich.

This is the story of those who live forever in the shadows. A former prisoner-of-war camp, built by their own hands after World War II, has now become a psychiatric hospital. To this day, in these long, narrow, white barracks, people live isolated and confined—those who have lost their grip on reason, clarity, and the sense of time. Seasons change, years pass, and human faces age, yet here, time seems frozen. It’s impossible to tell if they are free or still trapped in the same state, like the German prisoners of war many years ago.

I was born in Yerevan, Republic of Armenia. I graduated from University of Cinematography of Moscow. Many years I have worked at "Hayk" and "Armenfilm" film studios. I am now an independent director and producer. During this period I took part in creating 45 films. My films have been presented in many international festivals, and have been awarded. I am lecture at the Yerevan Institute of Theater and Cinema. Professor of Theater and Cinema.

Watch with the Weary Ones is a short documentary that looks at the American urban landscape while the filmmaker quietly drifts back to memories of Iran. It places the surfaces of U.S. cities next to the feelings of someone living far from home, caught between two places. The film reflects on the sorrow carried by those who left Iran searching for another life, and those who stayed and continue to fight for theirs. It’s about holding two worlds at once, the one in front of you and the one that never leaves you, and trying to make sense of that weight

Sina Khani (aka Sina Ahmadkhani) is a Tehran-born, Los Angeles–based filmmaker, writer, and editor. His feature debut won Best International Experimental Feature at the Portoviejo Film Festival and earned awards, nominations, and selections at Regina IFF, Toronto International Nollywood FF, New York City Indie FF, and many other international festivals. He recently completed his MFA at Virginia Commonwealth University and continues to create bold, character-driven stories.