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As a documentary filmmaker I often start my projects from a place of curiosity. A question, a fascination, a personal experience; some turn of life will catch my eye just a little more than others did before and become the inspiration for a new project. Lots of introspection and research follow this initial spark, slowly shaping into what will eventually become the heartbeat of the story. My personal narrative then intertwines with that of my subject matter, embracing the multi-dimensity and fluidity that is each story’s nature. My films are not bound by rigid structures. Instead, they are built on the unexpected, combining various narratives into one as they invite introspection and challenge the status quo. 

Visually, my films are characterized by a very personal, subjective framing of the subject matter. It’s a soft lens, speaking of the importance I place on building reciprocal relationships with the people who portray the “characters” in my film. I strive for each film to hold as much authenticity and depth as the person sharing their story does. The personal and the universal become one and the same by telling macro-level stories through a micro-level perspective. These intimate and personal stories are full of raw and unedited moments that don’t often find their way into film, whether that be in recalling the death of a loved one by singing the songs that carry their memory (as in my film In Past Tense), or the decisive moment of conflict between a conservative mother and her queer child (as in my graduation film Oaie Neagră). These films challenge prejudices, celebrate resilience, bring down stereotypes, and speak loudly of taboos, all by following things as uniquely mundane as a Tuesday afternoon.
To allow these films to come into existence I have collaborated with organizations such as the Bruno Manser Fund, VUMC Amsterdam, and Mumush festival. My films are supported by film institutions such as Chassé cinema and Civil Society Pitch Romania.

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