Morning Circle

A documentary portrait of Utopia, loosely framed by Plato’s invocation of the lost continent of Atlantis in 360 BC and its re-resurrection via a 1970s science fiction pulp novel.

The Story of Milk and Honey is a short experimental video belonging to a larger project, which includes photographs, drawings and text, detailing an unnamed individual’s failure to write a love story about the Levant, as if it were a classical Arabic song. Through voiceover narration that weaves together images, letters, and songs, a story of defeat transpires into a journey that explores how we collect and perceive information, understand facts, history, images, and sound and where the individual is to be found in the midst of the material.

A transfixing performance film in which artist Basma Alsharif shoots footage in Athens, Malta and the "post-civilization" of the Gaza Strip while under self-hypnosis.

This film is an homage to the Gaza Strip and to the possibility of hope beyond hopelessness. Ouroboros, the symbol of the snake eating its tail, is both end and beginning: death as regeneration. A 74-minute experimental narrative film that turns the destruction of Gaza into a story of heartbreak, Ouroboros asks what it means to be human when humanity has failed. Taking the form of a love story, the film's central character is Diego Marcon, a man who embarks on a circular journey to shed his pain only to experience it, again and again. In the course of a single day, his travel fuses together Native American territories, the ancient Italian city of Matera, a castle in Brittany, and the ruins of the Gaza Strip into a single landscape.

Based on Gertrude Stein’s eponymously named screenplay, written in 1929 as European fascism was building momentum. Beatrice Gibson’s adaptation, set almost a century later in contemporary Paris, deploys Stein’s script as a talismanic guide through a contemporary moment of comparable social and political unrest. An original soundtrack, written especially for the film by British composer Laurence Crane, responds to the repetition, duplication and duality at play in Stein’s script. Both a fictional thriller and an act of collective representation, Deux Soeurs proposes empathy and friendship as means to reckon with an increasingly turbulent present.

Super 8mm film transferred to digital video. Installation composed of footage from three separate sequences that interweave frame by frame. Shot in the interiors of empty homes in Amman, Jordan. Sound composed of recording of food ingredients for unspecified dishes looped repetitively over ambient noise from film transfer to digital video.

Capital was shot at various locations including the CityLife residential complex in Milan, the Nile riverfront in Cairo, residential neighborhoods in Alexandria, and construction sites of new cities—places where architectural histories are romanticized even as they are being erased. Through these sites, al-Sharif explores the desires that drive politicians, urban planners, and their imagined ideal residents as well as how the resulting designs, with their disregard for the historical failures of colonial architecture, seek to transform and control the cultural and political landscape. Together the film and installation hint at the limits of free speech and reveal how the legacies of fascism live on in the present.

Bombers flying over Palestine, PFLP soldiers, civilians taking cover in shelters; through footage from a 1974 film by Kassem Hawal, the oppressed confront their occupiers.

A slideshow of abandoned spaces carries along the story of two girls who mysteriously turn up on the shores of a pre-apocalyptic paradise. Factual texts drawn from the Madrid Peace Accords to the CIA World Factbook are weaved into a fictional narrative that unfolds the story of a massacre.

An attempt to describe the everyday of a place that struggles for the most basic human rights: the Gaza Strip as a microcosm for the failure of civilization.