DAMAR TV (2026) is a feature-length moving image work that unfolds as a surreal meditation on media saturation, political exhaustion and the possibility of recovering a human voice amidst perpetual crises. Blending speculative fiction, music performance and archival footage of political events and news, the film follows Damar Darwish, a television journalist whose career collapses after an on-air confrontation. Cast adrift from the institutional structures that once defined her identity, Damar embarks on a disorienting journey through collapsing media systems, bureaucratic labyrinths and imagined political landscapes where the distinctions between memory, propaganda and fantasy dissolve.

Rather than presenting a linear narrative, the film develops through a series of associative episodes in which television studios, abandoned pavilions, imperial interiors and fragmented broadcasts merge into a dreamlike psychological terrain. Familiar visual languages of rolling news, state spectacle and digital media are repeatedly destabilised, exposing the ways in which contemporary image culture overwhelms rather than informs. Al-Maria asks what remains of subjectivity when continuous exposure to catastrophe produces numbness instead of understanding, and when language itself begins to fail under the weight of political and ecological trauma.

Throughout the film, music emerges as a parallel mode of communication. Encounters with performers, spectral figures and improbable companions gradually shift the narrative away from the relentless circulation of images towards rhythm, breath and improvisation. Song becomes a means of reconnecting with embodied experience, suggesting forms of expression that resist the flattening effects of twenty-four-hour media cycles. Oscillating between absurdist humour, profound melancholy, incisive political commentary and post-colonial critique, Damar TV reflects on the psychological consequences of life lived through screens while questioning the ideological structures embedded within contemporary broadcasting. The work ultimately imagines a possibility of renewal; not through clearer information or technological solutions, but through recovering forms of collective imagination, listening and emotional resonance that exceed the limits of the spectacle.