My path into filmmaking came through both practice and theory. I studied Film and Television at the University of Warwick before completing a Masters in Screen Media and Cultures at the University of Cambridge, where my work focused on editing, cinematic form, and how images shape meaning. That foundation gave me a language for film - but it was making work, not studying it, that taught me how stories live or die.

Early on, I was drawn to cinema that blurred boundaries: documentary and fiction, precision and improvisation, observation and emotion. Films that trusted rhythm, silence, and visual thinking as much as dialogue. That sensibility continues to shape my work, whether I’m directing a narrative short, leading a broadcast campaign, or developing longer-form projects.

What interests me most are stories about people rather than spectacle: moments of quiet tension, contradiction, and connection. I’m drawn to work that allows ambiguity, trusts the viewer, and finds meaning in the everyday. Whether the context is commercial or independent, the goal is the same - to make something felt, not just understood.

Alongside filmmaking, I write about craft and creative process, exploring how editing, cinematography, and technology shape storytelling today. I see theory not as an abstraction, but as a tool - one that becomes useful only when it’s tested in the real world.
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At the centre of my work is a simple idea: good stories are built, not announced. They emerge through attention, collaboration, and care - and they endure when craft and intent are aligned.