How do classical Persian literary references, such as The Conference of the Birds, influence your storytelling?

I grew up with a mother who loved Persian literature and introduced me to poets and their way of thinking from a young age. I fell in love with this worldview, with its vivid imagery, moral depth, and philosophical openness. Poets like Rumi, for example, often tell stories within stories—mise en abyme—that are interwoven like waves, without major “action” in the cinematic sense. Instead, the atmosphere, landscapes, and images carry the weight of the story. This has influenced my own narrative style, where philosophy shapes the visual world as much as plot.

You participated in the Open Studio event on June 11, Déplacer nos mémoires, curated by Violette Morisseau. What was your contribution, and how did it connect to your themes of memory and displacement? 

It was a great experience—300 visitors in one day saw my work. By the end of the day, I felt transformed, as if I had discovered a new ability. Violette was wonderful to work with: open, flexible, and respectful of each artist’s vision. She didn’t change my project but positioned it beautifully within the bigger picture of the Cité internationale des arts x Institut français collaboration.

I contributed in two ways. First, several films from the group were screened for visitors. Then I opened my studio to the public, displaying my scriptwriting process—post-its on the wall, an installation with hidden elements and a feminine touch, music playing in the background. I also screened my documentary Keryas, a kind of video art about two historical houses in Lebanon.

One of the most exciting outcomes is that I found a French producer for my short film. 

What were some of the most meaningful encounters or artistic exchanges you experienced in Paris?

Some of the most significant meetings of my residency were with the French Institute—particularly Lucie Brechette, Nathalie Streiff (Project Officer – Cannes Festival), and Gabrielle Beroff (Project Officer – La Fabrique Cinéma). I also had two valuable sessions at the CNC, which were real highlights and helped me think about the next steps for Voyage.

I organised a screening of my own films, without any promotion, and more than 50 people came—friends, professional contacts, other residents. It felt like a true cine-club moment. Every week I met new people and spoke about my project. One of the most exciting outcomes is that I found a French producer for my short film.

In Voyage, you blend dramatic realism with magical elements inspired by classical Persian literature. How does this hybrid narrative help you explore themes like feminine resilience and healing?

The protagonist is a woman, accompanied by her mother, her sister, and her friend—all female characters. While the story is about human journeys in general, my perspective as a female director naturally shapes it through women’s experiences. The film also explores the complexity of the mother–daughter relationship, as they try to resolve long-standing tensions. These dynamics are central to the transformation that the journey represents.