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 Creative Time, Die Zeit, Asia Art Archive, Asian Contemporary Art Week, New York University, the Queens Museum of Art, the Metropolitan Museum, 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. The resulting films and installations have been presented and collected by museums, festivals, and biennials across the US, UK, Europe, Asia and the Middle East.
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 premiered at the Berlinale Forum 2019 and is currently in educational distribution through Good Docs. Projects in development include Dis-Ease, a feature-length expansion of a short originally commissioned by the Wellcome Collection for the multi-city project Contagious Cities, the short The Fire This Time for Field of Vision, and Between the Tiger and the Precipice with LOOKSFilm and ARTE.
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 in 2018-19 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’) and continuing in 2019-20 with Wali Latifi’s Dark Days (1973, 98′), Khalek Halil’s The Suitor (1968, 42′), and the propaganda short Decade of Women (1985, 15′).