Rosalind Nashashibi’s films are quietly observational and capture circumstances or settings in which a peculiar social or symbolic ritual occurs.
Nashashibi is British born, lived in Glasgow, and is now based in London. She has Irish and Palestinian parents.
Her recent works Eyeballing and Hreash House negotiate the performative actions of daily life. Eyeballing juxtaposes re-appearing face-like shapes in household and city settings across New York, with interspersed shots of cops hanging out outside their precinct. Hreash House is shot in the domestic setting of a multi-generational household in Nazareth during Ramadan when the house is packed. Nashashibi’s films don’t offer a narrative but instead provide a quiet and reflective observation of aspects of social ritual that call on the audience to bring their own responses to her often philosophical questioning.