Arash Akhgari

In the Shallows

Walking down the street or sitting on a commuter train, few of us can resist the siren song of that small, illuminated device in our pockets. Through a carefully choreographed collision of hand-made sculptural collages and ink and paint animation, In the Shallows, by first-time NFB filmmaker Arash Akhgari, takes us on a deep dive into the shallow and fragmented world of news, entertainment and ads, where we can easily drown in the dangerous allure of mass media intoxication.

In the Shallows

Walking down the street or sitting on a commuter train, few of us can resist the siren song of that small, illuminated device in our pockets. Through a carefully choreographed collision of hand-made sculptural collages and ink and paint animation, In the Shallows, by first-time NFB filmmaker Arash Akhgari, takes us on a deep dive into the shallow and fragmented world of news, entertainment and ads, where we can easily drown in the dangerous allure of mass media intoxication.

In the Shallows

Walking down the street or sitting on a commuter train, few of us can resist the siren song of that small, illuminated device in our pockets. Through a carefully choreographed collision of hand-made sculptural collages and ink and paint animation, In the Shallows, by first-time NFB filmmaker Arash Akhgari, takes us on a deep dive into the shallow and fragmented world of news, entertainment and ads, where we can easily drown in the dangerous allure of mass media intoxication.

In the Shallows

Walking down the street or sitting on a commuter train, few of us can resist the siren song of that small, illuminated device in our pockets. Through a carefully choreographed collision of hand-made sculptural collages and ink and paint animation, In the Shallows, by first-time NFB filmmaker Arash Akhgari, takes us on a deep dive into the shallow and fragmented world of news, entertainment and ads, where we can easily drown in the dangerous allure of mass media intoxication.

Woman

Woman is the first part of a trilogy that, from the perspective of the Iranian diaspora, supports the feminist revolution in Iran. Using documentary techniques to highlight street protests, the film presents civil disobedience as a collective performance and probes the discourse around women, life, and freedom.

Sometimes I Wish I Was On a Desert Island

As the world learns to live again in the midst of the pandemic, for many Arabic-speaking LGBTQ+ people living in Montreal, this is just a period of time like any other. When you’ve fled homophobic violence in your home country and endured a painful migratory journey, or you still face social prejudices stemming from intercultural and intergenerational conflicts, surviving social isolation is nothing new.

The Other

We are constantly in conversation with the Other, either symbolically or literally. In the process of responding to the symbolic Other, it is hard to tell if the response is to the subject or our own projection. This animation tries to visualize this question within the social contact of an individual or a crowd.

An Echoing Memory of a Tongue

Words are just sounds that we have ascribed meaning to. But words are finite, the sounds we can generate are probably not.