Films about the patterns we live inside, and the moment they crack.
I’m a director-cinematographer drawn to repetition: habits, compulsions, the thoughts that won’t leave. I tell stories through image and sound rather than dialogue, and I shoot my own work, because for me the camera is where the directing happens.
I came to film through photography and a detour through trading markets in Jaipur, which I left to make films full-time. I borrow from philosophy, music and technology, and I’m always teaching myself the craft. Call it the intrusive thought, made cinema.
This site is built like a film, and you're already watching it. The black bars are a letterbox, and they reshape with every scene: 2.39 widescreen for the films, 1.50 (the 35mm still) for the photographs, tighter and tighter as you reach the last page. The timecode started the moment you arrived. The frame counter in the corner reads your own screen, so the film runs at your speed.
The only colour is safelight red, the one light a darkroom allows, because it can't spoil an image while it develops. I use it the way a camera uses its REC light: sparingly, and only where something is live.
The type stays out of the way. One quiet typeface for the frame, and Courier for anything written as a script, because that's how scripts are typed. Even the CV is a shooting script.
Nothing autoplays. No one speaks. Like my films, it lets the image do the work and leaves the cut to you.
And there's one room that isn't on the menu. Its door opens at 78:00, a time that doesn't exist.
The work.