The conversation that follows below began in the fall of 2024, shortly after I saw Razan AlSalah’s film 'A Stone’s Throw' at Prismatic Ground, an annual festival dedicated to expanded documentary and avant-garde film, curated and run by Inney Prakash. AlSalah is a filmmaker and teacher based in Montreal. What I am drawn to with AlSalah’s work is her ability to pull us into an image, or have the image spatialize our cinematic experience in a way that feels tactile, immersive, moving, and expansive. Her work engages the material implications of image-making, particularly through the layering of multiple narratives and the branching pathways that gesture toward a relational movement of diasporic living. At its core, there is an anti-colonial vision—one that insists on the resurgence of life on Indigenous lands while rupturing the colonial image. Her films often operate as “ghostly trespasses,” bypassing the seemingly fortified map of colonial borders. For AlSalah, filmmaking is a form of collective memory-making, unfolding in relation with others, with place, and with the unknown.