Curating Cinema, Contexts in Frame

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My curatorial practice is intuitive, intentional, and rooted in cinematic memory. In a world saturated with images — real or simulated, archived or aestheticized — I’m drawn to how cinema remembers, resists, and renews. My programming responds to shifting cultural, political, and formal ecologies, guided by a quiet, sustained curiosity for how moving images think with and through the world.

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I work between critical theory, visual philosophy, and lived curatorial experience — shaped equally by film festivals, cultural institutions, and embassy-led collaborations. Whether developing curatorial frameworks, consulting on programming direction, or supporting filmmaker journeys, my approach values slow thinking, aesthetic trust, and long-term vision.

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My practice extends across international cinema, experimental moving image, and institutional programming — with a focus on film cultures from South Asia, East Asia, and the wider Global South. Areas of interest include curatorial research, festival strategy, new media programming, and expanded aesthetics — particularly in relation to memory, ecology, and non-narrative form.

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I’m also the founder of CINETRACE, a slow-form curatorial collective tracing contemporary cinema from South Asia and beyond. Alongside collective work, I offer curatorial feedback sessions for emerging filmmakers — focused on programming insight, festival positioning, and aesthetic framing — and occasionally collaborate on select projects and mentorships.

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I hold a BA (Hons) in English Literature from St. Stephen’s College and an MA with Distinction in Arts & Aesthetics from Jawaharlal Nehru University (JNU), where I specialized in film aesthetics and the philosophy of the moving image.