Anxiety
For more information on purchasing a film for public screening, including a Q&A with Yehuda Sharim, or licensing a film for educational purposes, please email contact@sharimstudio.com
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For more information on purchasing a film for public screening, including a Q&A with Yehuda Sharim, or licensing a film for educational purposes, please email contact@sharimstudio.com
Who But When, How is an autobiographical film narrating the parallels stories between personal and collective experiences of losing one’s sense of time and space.
FLORA is a collective memoir interweaving the stories of visionaries and warriors who have to teach themselves about love and tenderness in a world dominated by unnecessary suffering and hurt.
During a time of compounded crisis, from environmental, social, racial, and economic drought, Ana stands by her eighteen-year-old son, Marcos, as he decides to work in the fields together with other migrant workers. Experiments in Freedom is a lyrical meditation that retells the stories of being young in a world of limited (or no) opportunities in rural parts of the USA with a clarion call for present-day action.
El Ojo Comienza En La Mano is a tribute to campesino histories in rural CA through the artwork of an artist largely absent from critical conversations on Chicanx art, Ruben A. Sanchez, as well as an unsentimental reckoning with the fate of many cultural workers that struggle between paying rent and/or creative endeavors.
By embracing a kaleidoscopic style of storytelling to highlight the poetics and precarity that follow the craving for freedom, Letters2Maybe is an unfinished letter, articulating the ever-growing yet unflinching demand for justice and tenderness in our world today.
In a temple where safety is a mystery and breath dreams of telling stories of uprising, Red Line Lullaby moves across (sub)urban landscapes and reflects on loss, resilience, and the (im)possibility of belonging in America, a country in agony.
Having fled their home in Iran, the Dayan family is greeted in Houston with hurricanes and perilous politics. Nine-year-old Hana is bold and brilliant and struggles to be heard while her family comes to grips with life in the sprawling Texan metropolis, constantly reaching out to all that is gone but is still here: a hunger for the future, and songs about a kind world.
Amid the backdrop of a contentious presidential election, a health clinic in Southwest Houston is run by and for immigrants and refugees. A family from Iran is bound by love as they build a new home in the city’s most diverse neighborhood.
When the elderly math teacher, Sibhatleab, ventures alone from a refugee camp in Ethiopia, he finds himself at the bottom rung of the social ladder in a vast, faceless Texan metropolis in the summer before a contentious election. As he still copes with his unthinkable twenty-five year history of imprisonment and torture, he finds hope at Salem Market, a tiny store that caters to Houston’s refugee community. The film tells his story of disillusionment and resilience, questioning our understanding of the immigrant experience in contemporary America.
We are in it chronicles the stories and journeys of five Houston residents and their attempt to find refuge in this American metropolis. By combining tales of deportation with everyday defeats and resilience, it identifies what lies beneath the surface of migrant and refugee realities and the unsettling need to move towards political and economic security.
