Using scenes from the artist’s surroundings and life in Saudi Arabia, we see disarrayed glimpses of multiple narratives include familial domestic tensions, a juvenile dream of going to Japan, the tendency to smash TVs in moments of anger, and eating fish. Never attempting to provide the whole picture, the film takes a rhizomatic approach to tell a story of everyday life.

This film focuses on the ways in which information circulates and, at the same time, involves the subjects of a society. Through a complex dynamic of lights that turn on at the same time as the intermittence of the voices of a men’s choir singing an Arabic pop song, the artist proposes a letter that is repeated over and over again: “No, no, don’t leave us, we were always with you / No, no, don’t leave us, even if we weren’t with you

Set in Jeddah, the film tells the story of two sisters who embark on a journey after a small act of rebellion. While preparing for an engagement party, Salsabil asks her mom to go shopping, but her request is rejected which leads the day to go in an unexpected direction.

In this silent drama, we explore phases of Tayseer's daily life on the roof of his building and his relationship to the architecture of his home. Tayseer keeps dragging his chair on the roof until he decides where to settle.

A rebirthing of neglected land through self-preservation, illustrated by displacing traditional rituals practiced by Shia women preparing for an Islamic marriage into spaces unbound by time or resolution.

Every year, Ghulam Mohammed Andalib comes from Afghanistan to Dubai for work. He’s here for a period of four months, where he is offered a stage to perform his craft on for the visitors of Global Village. At his assigned setting, Ghulam sits and engraves poems from Hafez, Saadi, or Quranic verses. Here, in late Sheikh Abdulaziz al Qassimi's abandoned palace in Ras Al Khaimah, Ghulam explores the interiors. Like himself, Sheikh Abdulaziz had a passion for Persian poetry and miniatures, and can be found hand painted on the house walls. Part documentary, part performance, exploring the themes…

In this film, al Faraj takes us on a visual and auditory exploration of the cities and people of Saudi Arabia. He shot the video in a documentary format using a video camera and mobile phone. This is an ongoing project, and the artist has been gathering footage for the film since 2015.

Almatrooshi carries out an investigation of the daily activities in local Sharah dessert spots. By centering desserts in the work, she problematises sweeteners as a guise for other flavours. Sugar has historical connotations with enslaved labour, colonial enterprising and class signifiers, as well as a demonised health hazard and a source of “sinful” temptation & indulgence.

The artist recalls personal experiences that occurred at the Egyptian Embassy, at Counter #6, the division that handles Palestinian refugees who carry Egyptian travel documents. The artist sets a mood of dream and hope played in irony portraying the endless dilemma of those who struggle with identity and citizenship.