A timeless memory of our Year 12 Journey. Thank you to all the students, teachers, and parents who supported us every step of the way. This video is for the class of 2025. Credits to those who made this video possible: • Directed, filmed, and edited by Joelle Nasser • Filmed and assisted by Aisata Bah • Filmed by Ashton Hobbs • Marketed & Produced by Aisata Bah
A radiant angel, shimmering with glitter, blazing with an overwhelming amount of light, storms into the world of a man lost to himself. In the wreckage of what he thought he was, he begins to awaken
Set in Rangsot, this film unravels how memory, play, and storytelling endure through voice, gesture, and communal presence. Songs once sung to lull children, tales whispered by parents, and games played with sticks, stones, or dragonflies re-emerge as elders recount them—sometimes laughing, sometimes grieving. The film reflects on how the apparatus mediates these transmissions. Between oral history and the camera’s framing, it explores how memory is shaped, reenacted, and perhaps even transformed through the production and consumption of technical images.
The film reflects on both individual and collective perceptions of images embedded in public spaces in southern Canton Ticino (Switzerland), in relation to the surrounding landscape. Physical traces of local legends, anecdotes, and journalistic accounts intertwine with Rorschach-like marble patterns and contemporary debates on public sculpture. Together, they reveal how imagination shapes and sculpts the territory, exposing underlying socio-political dynamics and addressing the extractivist human activity of local marble quarries. Moving between legitimation, acceptance, and censorship, the film invites viewers to reflect on the creation and interpretation of form.
A farmer chances upon a book, and within its pages he perceives that the devotion of his life, since his first breath, draws near its close. Once touched by knowledge, he feels estranged from cows, no longer bound to their world.
A cinematic interpretation of a singular aspect from the universe of Gabriel García Márquez’s One Hundred Years of Solitude. Emerging from Macondo, the film foregrounds the domestic routines of the Buendía women who repair and renovate the house each time it collapses under extraordinary events across the century. These recurring gestures, which in the novel traverse generations, are recontextualized through the logic of contemporary reality and reconfigured into a visual play of form that interrogates narrativity.
Dr. Sjarif, a researcher, is reconstructing a lost city, Kejora, using found objects. In the imaging laboratory where he works, two ghosts are watching him, waiting for an opportunity to sneak back into the city he is rebuilding.
A visual essay obsessed with lines in space—as form, boundaries, and language—that tells a story about a part of the history of solidarity through cinema. Will they have a second chance?
Fragments of light and language once circulated under a military regime’s gaze. Drawing from newspaper archives and the incident site, the work asks what printed words conceal, preserve, or reveal. In revisiting the 1984 Tanjung Priok tragedy, it examines both the violence itself and the contested role of media in shaping memory and truth. Two narratives emerge: official accounts and marginal voices. By confronting archival dissonance, the film exposes how media operates—exhuming suppressed histories and counter-narratives, and suggesting that history is shaped not only by authorities, but also by what remains unwritten.
Some people draw fragments of lines on paper as an idea of possible disasters that could happen to them. These lines turn abstract ideas into something that is visually identifiable. The collection of images of objects and lines then becomes a depiction of an event. From this process emerges a collective visual narrative in which personal experiences are represented as part of a shared pattern, emphasizing the connection between individual perceptions and broader visual constructions.
This audiovisual essay dives into the complexity of the border space from three European enclaves located in African territory: Ceuta, Melilla and the Canary Islands. The film plunges into the gap that unites and separates Africa and Europe, in search of the ruins and ghosts from the wreckage of the utopias that have grown on both sides: Europe as a promised land for the dispossessed South and Africa as a paradise for the exotic-hungry North.
Afloat follows Owen, a young man burdened by shame, fear, and trauma, who returns home and takes an experimental pill meant to erase emotional pain. What he hopes will heal him only makes things worse.
After 12 years of documentary courses being absent as a form of Integrated Practicum in the Film Department at IKJ, Bikeska, Paul, Arrivo, and Raihanul chose to break the tradition. Amidst the dominance of fiction films, which are considered more prestigious, they chose documentaries due to budget constraints and a desire to respond to the world in a more honest and intimate way. Their poetic documentary film captures two layers of reality: a man who draws architectural spaces, and the laborers who build them. However, the process led to a creative crisis and the images were too structured as the treatment felt like fiction filmmaking. The question arose: were they recording reality or constructing it? The camera turned around, highlighting the team’s process and confusion. Ultimately, the film not only captures space and labor, but also reflects that documentaries, like buildings, are the result of construction and choice.