Broken glass with reflection of a woman and a dove.
Black and white photograph of a woman standing next to a small vintage car, with other cars and a barrier in the background.
A cityscape with tall buildings at dusk, overlaid with two black-and-white photographs: the top photo shows a woman and a child outdoors, and the bottom photo depicts a yard with a chicken and outdoor objects.
A blurry, illuminated sign on a building reads 'The Lounge' at night.
A black and white sketch titled 'The VOYAGE of the SABLE VENUS, from ANGOLA to the WEST INDIES,' depicting a mythological scene with a central female figure surrounded by spirits or mythological creatures, with an ocean and stormy sky background.
A painting or print of a mountainous landscape with trees and a waterfall, with French text at the bottom.
A black-and-white vintage photograph of two women sitting on a park bench, with a stroller nearby, trees and a body of water in the background.
A red and orange rose with a faint heart shape outlined on it, reflected on a glass surface with people and a room in the background.

‍ ‍Click to watch the film

In-Between, 2026
Documentary essay, family videos archives (1970–1990), negative photographs, voices of Jacques Derrida, Gisèle Halimi, Michel Foucault, songs by Taos Amrouche, 15 min

Several screens simultaneously diffuse family videos archives and ethnographic photographic archives — images of displacement, faces, traversed territories, everyday gestures. Over these images, archive photographs in negative superimpose themselves like returning traces that accumulate without ever being fully grasped. These images circulate without caption, without chronological order, without beginning or end, in a continuous flux.

Rising over these moving images are the voices of Jacques Derrida, Gisèle Halimi and Michel Foucault, and the songs of Taos Amrouche.

In-Between is a work of threshold. It does not document a memory but manufactures its experience: that of standing between two worlds without fully belonging to either, carrying images one recognises without having lived them.