An experimentation with perceived movement and composition, drawn from six years of photographic fragments—an imprint of shifting visions, where seeing becomes both a subject and a mirror. “Gorg O Mish,” a Persian expression for twilight, can be translated literally as “wolf and ewe.” This film is named after the liminal moment between day and night when shapes blur and certainty falters; when you can’t distinguish a sheep from a wolf. This film lives in space of confusion, ambiguity, and quiet transformation.

The film, made without a camera, shows the support itself, shows the splices, works the declared montage, reveals the lateral perforations and does not limit itself to showing only the space of the frame, as well as intervening manually on the emulsion.

The camera lingers, tracing a quiet alley where people are glimpsed, reflected, and lost. A game unfolds, where shifting perspectives turn passersby into performers. Elsewhere, landscapes are slipping away and rebuilt on a cyclical pattern. A brief syncopation in a daily routine, an interplay of bodies and place in motion.

Anomalies dans le paysage is a film in four tableaux in which four audiovisual landscapes unfold in all their strangeness: Spices, leaves, and local seaweed reveal and imbue their hues into this film which was shot and developed on the very banks of the Magtogoek (St. Lawrence) River from which it was composed.

An Archive of Disappearing Sounds is a meditation on environmental grief by evoking a contemplative cinematic space through listening as praxis. As light and sound pollution from settler cities encroach, what inaudible sounds are heard in the disappearing silences of the Land? This film reflects on Indigenous critiques of the increasing scales of ecocide resulting from settler colonialism through tracing genealogies of extinction.

In Xoco, Mexico City, the spirit of a villager awakens in search of its lost home. In their journey, the ghost discovers that while Xoco still celebrates its festivities, a new commercial complex, Mítikah, threatens the existence of both the traditions and the town.

In this personal piece, the artist uncovers memories through sleep talking, exploring the tension between her body’s recollections and her mind’s amnesia. Using family archives and her own body, the film delves into her trauma, revealing a broader conflict between individual identity and the unspoken violence within family and state.

An exploration of the loss of physical media and growing up in the age of technology, blue & sentimental  is made up of digital video frames transferred onto watercolour paper via a cyanotype process, scanned, and re-animated at twelve frames per second. The archival footage and accompanying audio, shot by the filmmaker's father, documents the first days home from the hospital as a newborn up until kindergarten graduation.

A mother writes to her five- and two-year-old daughters during their forced separation, letting her words drift across a sea of distance.

Working from the enforced absence of filmmaker-producer Çiğdem Mater—sentenced to 18 years in prison in a trial tied to the 2013 Gezi Park protests for a documentary she never shot—Dadak and Kahraman braid dreams, screen captures, and AI images into a rehearsal for release, summoning Mater as a still-imagined free artist against the state’s attempt to erase her.