A short film about that delicate space where memory, feeling and reality begin to blend and lives in those quiet moments, just between waking and sleep, when everything softens and the edges start to fade. What you remember and what’s really happening begin to overlap, creating something gentle, something unexpected. A dance, a moment, and then that feeling slips away, leaving behind only a trace.

The film moves through spaces that are easy to overlook, and moments where the past rises to the surface quietly, and memories feel just as present as what’s in front of you. In these moments, time doesn’t follow the rules. It slows down, folds in, and carries you somewhere in between. Not quite a dream, not quite reality, but something that holds pieces of both.

Lasted was made out of limitation. One location, barely any dialogue, and a single day to shoot. But instead of feeling restricted, that simplicity opened up space to focus on tone and feeling. The film leans into silence, into the tension of what’s left unspoken, and the emotion that lives in between. With music, movement, and carefully chosen frames, it reaches for something just out of view. A moment that may have passed, but still lingers.

Shot on a Panasonic digital camera with three lenses (24mm, 50mm, and 75mm) the scenes blends handheld and stabilizer work to create a sense of closeness and rhythm. With a small dedicated team, the goal was to find something honest in the ordinary.

Lasted was officially selected by the Current Cut Film Festival, a new platform for emerging student filmmakers, presented in partnership with NBCUniversal and the Director’s Guild of Canada. Starring Nour Khedder and Mohamed Ben Khedda, and produced by Halo35mm, the film invites the viewer into a moment that doesn’t last, but still leaves something behind.

With a focus on energy and movement, this music video was built around capturing the raw vibe of the song. Wide lenses were chosen to bring a bold, expansive feel to every frame, while hand-picked locations set the stage for Osi-Baze’s dynamic performance. His energy drives the video, with every move and verse syncing perfectly, giving the visuals a rhythmic flow.

Colour grading played a huge role in this project, especially considering the mix of indoor and outdoor scenes. With natural lighting as the primary source, I worked around the cloudy and gloomy conditions outside, adjusting camera settings to maximize the quality and capture all the necessary data for post-production. By avoiding artificial lighting, I was able to maintain an authentic, natural feel that kept the mood consistent throughout. From the cinematography to the final edit, every choice was crafted to ensure the video matched the track’s pulse, creating a seamless connection between music and movement.

This visual musical piece delves into the deep-seated issue of discrimination and the rejection of those deemed “different” by society. It sheds light on how we, as individuals and communities, often shy away from those who don’t fit into our preconceived norms, whether because of their appearance, background, or beliefs. The video highlights how this “othering” creates divisions that are painful and unjust, encouraging us to reflect on our own biases and the way we treat those who don’t fit our idea of ‘normal.’

Avoiding or refusing to engage with people who are different inevitably leads to deep psychological harm. When we continuously reject or ignore someone because they don’t fit our standards of normality, we reinforce their sense of existential abnormality making them feel like their very existence is somehow wrong or unacceptable. This can create immense emotional suffering, driving some individuals into dark places where they may feel the burden of being “different” is theirs alone to bear. In extreme cases, this isolation and rejection can lead to tragic outcomes, like suicide.

The visuals are taken from the powerful and heartfelt film Yomeddine, which tells the story of Beshay, a middle-aged man suffering from leprosy, who has spent most of his life in the leper colony of Abu Zaabal in Qalyubia. Through Beshay’s journey, the film paints a raw and moving picture of societal rejection and discrimination against those who are perceived as different. Despite the rejection he faces, Beshay embarks on an emotional and physical journey, accompanied by his Nubian friend Obama and a loyal donkey, as they travel across Egypt in search of the family who abandoned him as a child.

This video stands as a tribute to those who, like Beshay, fight to reclaim their humanity and dignity in a world that too often refuses to see them. It speaks not only to the struggles of individuals with visible differences but also to anyone who has ever felt outcast or marginalized.

In an era defined by hyper-consumerism, wealth, and conflict, we have become increasingly detached from the natural world. The rapid pace of modern life often overwhelms us, leaving us with only a superficial understanding of what is happening around us.
This theme reminded me of the 1982 documentary Koyaanisqatsi, directed by Godfrey Reggio, which explores the disconnection between humanity and nature. The film uses wide shots of landscapes, fundamental forces, and scenes from modern civilization and technology to emphasize the growing imbalance. Through its chapters, the film reflects the ancient Hopi prophecy, warning of the curse that befell their villages, such as Pivanhonkyapi.

As I revisited Koyaanisqatsi, I noticed few differences between Reggio’s portrayal and the world we experience today, aside from new designs and technologies. However, it is clear that we now face even greater challenges, with accelerated consumption and environmental destruction driving us further from balance. This project aims to revitalize the themes of the documentary, using a visual and musical composition that resonates with the speed and urgency of our current era, while echoing the Hopi people’s warning. The final shot features a representation of a cave painting depicting “The Hopi Prophecy of the Curse of Koyaanisqatsi” from the Holy Ghost Panel in the Great Gallery, Horseshoe Canyon, Utah.

Koyaanisqatsi is a Hopi word meaning “life out of balance,” and the Hopi prophecy speaks to the dissolution of harmony and balance in life. Pivanhonkyapi was an ancient Hopi village, located on the Third Mesa, believed to be the first permanent settlement of the Hopi people after they emerged from the Underworld at the Grand Canyon. Due to a severe drought, it was inhabited in the 1200s but abandoned before the end of the 13th century. – Source: Hopi Tales of Destruction (Nebraska Press, 1982)

— The Holy Ghost panel in the Great Gallery, Horseshoe Canyon, Utah.

This experimental project is designed to evoke the feel of a cinematic opening title sequence, specifically for a classic psychological thriller. The sequence uses a carefully selected color palette of green, orange, turquoise, and brown, which gives it a timeless yet unsettling quality. Each color plays a part in creating an atmosphere that feels both serene and ominous, setting the stage for what’s to come.

The background symphonic score adds depth to the experience; its classical, almost haunting melodies heighten the tension and provide a rich emotional undercurrent. It’s meant to draw the viewer in, making them feel the weight of the story that’s about to unfold.

While the visuals and narrative are entirely fictional, the title of the symphony and its composer are the only real aspects within the sequence, lending an air of authenticity to the overall project. This blend of reality and fiction is intended to create a unique, thought-provoking cinematic moment that leaves a lasting impression.

“Sonata of the East – Opening Title Sequence” is a personal experimental project designed to emulate a cinematic opening for a historical series. Shot with a Fujifilm XT-4, I focused on creating an ancient, mysterious atmosphere through a careful balance of lighting, camera movement, and object interaction. Each shot was crafted with the intention of evoking a sense of time and place, capturing both the elegance and intrigue of an era long past.

The color palette, featuring warm yellows and oranges contrasted with deep, moody shades, played a crucial role in establishing the tone and mood of the sequence. To further enhance the atmosphere, I incorporated an old-vibe oriental music track, immersing the viewer in a world rich with history and mystery. While all the titles and elements are fictional, the music composer’s name is the only real detail included in the sequence. This project served as both a creative challenge and a fun exercise in editing and color grading, utilizing Davinci Resolve to bring it all together into a cohesive visual experience.