As a cinephile, I am interested in all aspects of cinema, from classic films to art house films, and especially experimental films. My first exposure to experimental cinema was Stan Brakhage's "Window Water Baby Moving." After seeing that film, I decided to start researching this branch of film and art. For me, experimental cinema opens a new window for both being an audience member and having a different relationship as a filmmaker with the audience. In the cinema of experience, we engage more deeply with the language of cinema (the essence of every art is its language), feeling, and thinking. Sometimes we may not fully understand an experimental film, but we know that while we may not have comprehended it completely, we have felt it. I aspire for my films to have a new form, but one that serves the concept I am exploring. This, for me, is the perfection of cinema: where the audience fully grasps the meaning of the film through complete communication with the language of cinema. My favorite subjects in filmmaking are often philosophical and mythological. I always aim to create films that pose questions and offer a different perspective on facts, stories, and concepts, essentially reinterpreting these issues in a new light. I seek narratives in experimental cinema, but I prefer these narratives to be accompanied by an experimental form. Additionally, my life ideology leads me to avant-garde, experimental cinema, because here I can breathe freely and also resist the imposed aesthetics of Hollywood and mainstream movies, displaying my personal viewpoint and personal aesthetics.