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Cruda Colletive

UPCOMING


2022

Water is What We Make It. Gemeene Grond Residency in collaboration with Gemeente Utrecht 

EXPERIENCE


2020 - present

Cruda Collective
Research duo with Andrea Galano Toro. The Netherlands & Berlin.

2021 - present

Freelance filmmaker & Video Editor. Directing, writing & editing (experimental) art films. Cairo, Mexico City, & The Netherlands

2022 - present

Freelance Junior Video Editor. Egas Producations, Almere

2021 - 2022

Researcher in Residency.
Horror Program Research Bureau. University of the Underground, ↗

2021 - 2022

Artist in Residency.
Midseason Residency. Het Resort, Groningen

2021 - 2022

Artist in Residency.
Master Apprentice Program. Kunstpodium T, Tilburg

2020

Intern & Assistant.
Mounira Al Solh. Zutphen & Amsterdam

2019

Writer in Residency.
Camp Cushy Watershed, 1- month Residency for artists and writers, Eindhoven

2019

Artist in Residency.
UNIDEE Residency program with Cittadellarte. Biella, Italy

Film maker and artist

Filmmaker and Artist


The Creature That Crawls in The Underground Skies (2022)

As part of the research bureau on horror, Laila formulated the following research question: How can the complex geological structure of caves reveal and awakennon-linear and hybrid storytelling logic(s)?

There is a whole subpage on Reddit that goes into how caves, for many people, trigger horrific fears like darkness, isolation, depth, fear of getting lost, the unknown, a place where your mind plays tricks on you. However, this project attempts to change the perception of caves and approach these spaces as a place of birthing, and speculation. The purpose of this approach is to render acts of narrating history more fluid and less sedentary as normally presented. History isn’t set in stone, and much like the walls of the caves, it is always
changing.

These histories are meant to be touched and experienced, and in this way, embodying a hybrid logic of time, space, and story. The short film, The Creature that Crawls in The Underground Skies, travels through webs of realities etched into the limestone walls, while the audience is listening to an official tour story narrated by Jo, an official Maastricht Caves tour guide. Alongside Jo’s voice is that of the fictional monster, the Cavus Reptilia,
Latin for cave reptile. This creature speaks in notes, and chords about dreams, death, and rebirth to reveal the various potentials of coming into being. The act of listening to a cave’s history, fused with monologues of death and rebirth can awaken such a non-linear and hybrid form of experiencing.