Indexical Films LLC is Mariam Ghani’s umbrella for collaborative productions. As a visual artist and independent filmmaker, Mariam Ghani has produced or co-produced 28 short films and multiple-channel installations, six transmedia projects, live cinema events, and a number of traveling film programs, exhibitions, conferences, and discussions, with production partners including Alternet, Creative Time, Die Zeit, Asia Art Archive, Asian Contemporary Art Week, New York University, the Queens Museum of Art, the Sharjah Art Foundation, the Dhaka Art Summit, Secession in Vienna, the Wellcome Collection in the UK, the Rogaland Kunstsenter in Stavanger, the Goethe Institute in Kabul, and Ryan Lee Gallery in New York, which represents Ghani’s work in the visual arts field and acts as her co-producer, agent and distributor for short-form and installation work. Her films and installations have been presented and collected by museums, festivals, and biennials across the US, UK, Europe, Asia and the Middle East. Her transmedia work has been covered by Fast Company and the Guardian and preserved by the Rhizome ArtBase for Net Art Anthology, its history of net art in 100 works.
Indexical Films recently produced the documentary feature What We Left Unfinished in cooperation with executive producer Alysa Nahmias (Ajna Films, NY/LA), and field producer Ali Latifi (a Kabul-based journalist who writes and produces op-docs for Al Jazeera, the NY Times, and the Los Angeles Times). What We Left Unfinished is premiering at the Berlinale Forum 2019 and is represented by Wide House internationally. In-progress projects include Dis-Ease, a mid-length film commissioned by the Wellcome Collection for the multi-city project Contagious Cities.
In conjunction with the festival release of What We Left Unfinished, for which we licensed and restored footage from unfinished films in the Afghan national film archives, Indexical Films is also helping the National Archive of Afghanistan restore and circulate other films from the Afghan Films collection, beginning with Latif Ahmadi’s feature Epic of Love (1984, 179’), Juwansher Haidary’s feature Baba (1989, 97’), and Qader Tahiri’s essay film The House of History (1996, 22’).