When I first shot on 16mm, I realized that the images I needed of migration, cultural rupture, and the inner life of an Iranian woman in the West could never be fully captured by the lens alone. This is why I paint, write, and scratch directly on the film to visualize feelings, memories, and distortions that live between frames, outside realism.

Coloring and painting on footage becomes both a conceptual and political act. It lets me intervene in the signal of the image, the way an immigrant must constantly intervene in how they are seen and understood. In a recent experimental film that I made, I combined found footage, silent-film style intertitles, and heavy editing to stage the breakdown of a television receiving and broadcasting system. The flickering, interrupted image mirrors the miscommunications of cross-cultural life what is transmitted is not always what is received.

With a background in sociology and a deep interest in existential thought, I gravitate toward minimalist and allegorical forms. I use a few lines, words, limited gestures, and sparse narrative so that every mark and silence carries weight. My experimental films and animations become hybrid spaces where Iranian poetic traditions, Western media environments, and philosophical questions about freedom, identity, and meaning collide. Rather than offering clear answers, I invite viewers to inhabit the fractures, noise, and unexpected colors that shape contemporary immigrant experience. Additionally, I always wanted to exhibit my Persian culture to the rest of the world. Thus, my ultimate goal in making my films is to exhibit them in art festivals and galleries.