ABOUT
My impact through Others Film is reshaping storytelling to expand imagination and drive change.
I am a media sociologist and filmmaker at the University of Sydney, researching public sociology and documentary film. My PhD focused on Iranian cinema, and my research explores migration, digital cultures, and visual storytelling through creative and participatory methods. I am the Media Thematic Group Convenor for The Australian Sociological Association and Associate Editor of Global Iranian Studies Review.
Since 2018, I have worked as a Head Tutor and Guest Lecturer at the University of Sydney. In 2022, I received the Dean’s Citation for Excellence in Tutorials with Distinction, as well as the Faculty of Science Learning and Teaching Award for Outstanding Teaching. In 2024, I was recognised as a Fellow of the Higher Education Academy (FHEA).
My work is driven by a commitment to Others Film. I offer two services: (1) Workshops on public sociological filmmaking where participants learn to create visual stories that explore identity and representation, and (2) Collaborative Film Projects where I work with communities to co-produce documentaries that amplify lived experiences and challenge dominant narratives. Both focus on ethical, participatory storytelling that sparks reflection and public dialogue.
Others Film
If stories shape the world, then changing how we tell them can change the world itself. Too often, dominant narratives construct the Other as distant, foreign, exotic, a threat, unworthy, passive, or merely a victim. These representations evoke sympathy but rarely challenge the systems that create marginalization. We watch films about injustice, feel moved, and then—nothing changes . The moment fades, and the structures of power remain intact.
This is the limitation of mainstream storytelling: it isolates oppression, reducing it to personal misfortune rather than exposing its systemic causes. It presents the Other as an object of curiosity, fear, or pity rather than an agent of change. Others Film resists this by shifting the focus from spectacle to solidarity, from representation to participation. It asks: Who is telling the story? Who is involved? And what happens after the film ends?
For example, a documentary about the health crisis in rural communities may frame its subjects as helpless victims, but their hardship stems from long-standing neglect, underfunded healthcare, and political indifference. Similarly, films about migrants crossing the Mediterranean often highlight personal suffering while ignoring the broader systems that criminalize migration and enforce border violence. Environmental justice films may show families struggling with polluted air and contaminated water, but these personal stories are inseparable from corporate interests that prioritize profit over human lives. Others Film challenges these narratives by revealing the structures that shape them, exposing how the Other is constructed through systemic exclusion, and centering the voices of those who resist.
A film should not simply be watched and forgotten—it should be an active tool in the struggles it portrays. The question is not just how to tell a story, but how to use storytelling to shift power. Others Film does not reduce oppression to suffering; instead, it highlights how the Other is constructed and resisted—how those pushed to the margins reclaim agency, challenge power, and reshape their own narratives.
This is not filmmaking for its own sake. It is about film as a tool for change—designed to amplify the voices of those who are unheard and challenge the way we see and engage with the Other.
If you are part of a community navigating systemic barriers, let’s work together to visualize your story. Reach out to explore how we can co-create a narrative that reflects your experience and drives meaningful change. This is not a transaction—it’s a collaboration for a better future.