making media

BCM115

Project Statment

My short film, Where I’m From, is a deeply personal exploration of identity, memory, and resilience. This project builds on my previous work, incorporating new layers through sound design, poetic narration, and symbolic imagery. I aimed to create an evocative visual narrative that connects my cultural heritage with my present-day experiences. Using techniques rooted in experimental filmmaking, I sought to blur the lines between memory and reality, creating a reflective piece that feels authentic and relatable.

The film begins with a symbolic gesture my hand meeting my father’s hand, paired with his voice calling me Inti Habibti Ya Sakankan. This nickname, unique to our relationship, establishes the tone of intimacy and connection. As filmmakers often note, the opening shot must capture the viewer emotionally, drawing them into the narrative (Bordwell & Thompson, 2012). To emphasize the importance of cultural identity, I introduced visual motifs like the prayer mat, the Quran, and the act of pouring gahwa (Arabic coffee). These recurring symbols, or mise-en-scène elements, ground the story in my cultural and spiritual roots, serving as touchpoints for my personal history.

The narrative transitions to Yemen’s broken houses, juxtaposed with my poem’s line:

“I’m from the ashes of a house lost to flames,
But still, I’m from the fire that pushes me forward,
Turning every struggle into strength, every loss into a lesson.”

This sequence utilizes montage editing to connect the destruction of a physical home with the emotional resilience it forged within me. The technique of visual juxtaposition, as noted by Eisenstein (1949), creates an emotional resonance, allowing viewers to interpret the layered meaning of loss and strength. By focusing on both the ruins of Yemen and the determination to rebuild, I aimed to convey the duality of struggle and hope.

This sequence utilizes montage editing to connect the destruction of a physical home with the emotional resilience it forged within me. The technique of visual juxtaposition, as noted by Eisenstein (1949), creates an emotional resonance, allowing viewers to interpret the layered meaning of loss and strength. By focusing on both the ruins of Yemen and the determination to rebuild, I aimed to convey the duality of struggle and hope.

The film then expands geographically, illustrating the journey across Yemen, Djibouti, Pakistan, and Dubai. The visual transitions are supported by a dynamic use of cross-cutting, interweaving these locations to reflect my multifaceted identity. Lines like

“I’m from memories that stretch across oceans, from Yemen’s streets to Djibouti’s shores, from Pakistan’s warmth to Dubai’s fast pace”

are brought to life with clips of a world map, bustling streets, and serene coastlines. The movement between these spaces mirrors the fluidity of identity, a concept explored in transnational cinema studies (Naficy, 2001).

To visually distinguish between past and present, I employed a shift in color grading: sepia tones for nostalgic memories and vibrant colors for the present. This stylistic choice, influenced by Mulvey’s (2006) work on memory and cinema, represents the emotional transformation from hardship to growth. The use of chiaroscuro lighting in certain scenes further underscores the contrast between moments of despair and hope. These visual elements help to evoke the emotional tone of each part of the story.

Midway through the film, I focused on everyday joys—holding an ice cream in Karachi, sipping matcha at university, and laughing with friends over lunch. These moments are captured with handheld cinematography to create a sense of immediacy and authenticity, a technique often used in observational documentary filmmaking (Nichols, 2010). The lighthearted music in this section provides a tonal shift, offering a reprieve from the heavier themes of loss and resilience.

The final scene, set in a quiet park at night, serves as the film’s reflective closure. I am shown working on my laptop, with my voice narrating the closing lines of the poem:

“No matter where I go, I carry it all with me—
A family, a journey, a story that’s always home.”

This scene uses deep focus cinematography to capture the surrounding environment, symbolizing the presence of both physical and emotional spaces in my journey. The steady framing contrasts with earlier handheld shots, signifying a sense of resolution and acceptance. As the narrative concludes, I wanted to emphasize that home is not confined to a single place—it is a collection of memories, relationships, and experiences carried within us.

Throughout the project, I drew on several filmmaking techniques to enhance the storytelling. Sound design played a crucial role, from the emotional weight of my father’s voice to the poetic narration that connects the visuals. The non-linear structure allowed me to present fragmented memories, echoing the works of directors like Terrence Malick, who use non-traditional storytelling to evoke introspection (Smith, 2018). By incorporating elements of poetic realism and ethnographic cinema, the film bridges the gap between personal narrative and universal themes.

Shot List

References

Bordwell, D., & Thompson, K. (2012). Film Art: An Introduction (10th ed.). McGraw-Hill.
Eisenstein, S. (1949). Film Form: Essays in Film Theory. Harcourt Brace Jovanovich.Mulvey, L. (2006). Death 24x a Second: Stillness and the Moving Image. Reaktion Books.
Naficy, H. (2001). An Accented Cinema: Exilic and Diasporic Filmmaking. Princeton University Press.
Nichols, B. (2010). Introduction to Documentary (2nd ed.). Indiana University Press.
Smith, G. (2018). Terrence Malick and the Cinema of Memory. Bloomsbury Academic.