After reading I Am the Sultan of the Law of Existence by Youssef Idris, a five-day journey through Egypt’s Western Desert, traveling from north to south., covering 2,800 km and shooting for 35 hours, the expedition became both physical and existential. The desert’s vastness and silence echo the text’s meditation on the relationship between man, nature and the universe, transforming the landscape into an active force that reshapes perception and confronts the nature of existence.

Decolonising the Curatorial Process is a forty-minute documentary which explores decolonial strategies in an academic and curatorial context. The film features academics, activists and practitioners, and contains case studies of institutions that are deploying critical, self-reflective forms of curatorial practice. The Museum of London Docklands exhibition on slavery and the sugar industry is examined as an example of how an institution can decolonise the curatorial process, utilise the work of artists in a museum context, and critically examine East London's imperial history. The Pitt Rivers museum in Oxford, who are working with Maasai activists from Kenya and Tanzania on a project centred on repatriating the museum's collection of sacred Maasai artefacts, also features in the film.

A student, initially serving as a director, filmed his LGBTQ+ teacher but eventually became personally involved in drag. What began as an observer's stance transformed into active participation in drag. Through self-engagement in drag, the director assumed the identity of Rachel and seized an opportunity for a dialogue with self-identity. This experience led to an awareness of the conflicting dialectics between societal frameworks and personal identity. The director embarked on multiple attempts to coexist with and showcase the multifaceted aspects of the transformed, drag persona.

Thea’s life is changed when she receives an unexpected call from her childhood ‘friend’, May. Memories of the past with May shake Thea out of the mundane and into the queer London landscape; although it doesn’t immediately welcome her with open arms. Except in the form of Mimi, a liberated and fellow queer femme, who shows Thea the unconditional love and friendship that queer community is built off. Inspired by a true story, this heartfelt short film celebrates the magic of queer femme friendship and love.

Vladan Vasev aka VaXz, is a lover of basketball and all kinds of team sports from Bosilegrad, who completely single-handedly restored faith in the hardcore music scene in Serbia. When the performers on stage noticed his jumps and the way of dancing specific to hardcore music and inquired about the most loyal member of their audience, they learned an incredible story. In order to attend the concert, VaXz travels from Bosilegrad to Belgrade sometimes up to ten hours, and then returns, sometimes immediately after listening to the gig. In this film, we meet Vladan and what it is that inspires him about hardcore, but through his portrait we also get to know life in a small town like Bosilegrad, as well as the history of hardcore music in Serbia and how bands came together to honor their most loyal fan.

A short documentary exploring the reason behind the return of analog media, specifically vinyl. The documentary focuses on Gabriella, the main participant, and her experiences and personal viewpoints.

Follows the waves of literary, political, and cultural history as charted by the The New York Review of Books, America’s leading journal of ideas for over 50 years. Provocative, idiosyncratic and incendiary, the film weaves rarely seen archival material, contributor interviews, excerpts from writings by such icons as James Baldwin, Gore Vidal, and Joan Didion along with original verité footage filmed in the Review’s West Village offices.

Documentary short film by Mario Handler about the city of Prague as part of an internship to study film in Europe.