The Imaginist was one of the most challenging and rewarding films I have directed. A 19- page script written by my creative partner, Sina Sultani was turned into a 24-minute film that was shot within 4 days at Fort Edmonton Park in Edmonton, Alberta with a lasting supply of cold winds and snow. Good thing it was mostly interior shots. The scripts I consider directing are usually ones that allow me to visualize them while being read with very limited changes. The Imaginist was

“All that was once directly lived has become mere representation.” Theorist Guy Debord, in his collection of theses called The Society of the Spectacle, asserts that we have become a society dominated by images and representations, and all of our social interactions are only perceived through this constructed reality. Debord asserts that “the concrete life of everyone has been degraded into a speculative universe.” While Debord would press his assertions on to the entirety of

I often believe that filmmaking is an addiction. Most people that you talk to, after they have poured their heart and soul into a single short (or feature) film, will tell you of the exhaustion they feel afterwards. Exhaustion from the shoot. Exhaustion from the post production process. Exhaustion from the festival circuit. So why keep doing it? Because it’s an addiction. I for one, frequently walk away from films and say “Never again”… and then I sit down to do something dif

Introducing Top Shorts Online Film Festival When I was younger, starting my career in the film industry, I found out that there were so many obstacles on the way. I sent my scripts to film funds everywhere, trying to tell that story that must me be told. I've been making documentaries with low budgets, just because I believed that the subjects are important. Every filmmaker struggles every day to make his dream come true (well, except Scorsese and his friends in Hollywood)