Come Along My Fog

Dina Mimi understands that narrating the full picture is unforgiving – even deceitful. Adania Shibli calls this a ‘stutter in narration’, a moment of hesitation of where to start in retelling a Palestinian experience without othering yourself. Yesterday, last week, or a hundred years ago. Instead of viewing the stutter as a failure, Mimi makes it the visual grammar of her latest film, Come Along My Fog (2026). She lets go of the full picture for a frame composed of close-ups and reflections. They weave into each other, part personal footage and part found footage, to create a fog of a film. A suspended atmosphere that visually connects you to everything it touches yet it also announces that what you see hides a whole world under it.

‘The only bodies that clearly appear are the most absent,’ Mimi announces in the film. The film, whose title is taken from an Etel Adnan poem, tugs your hand into this apparition that has become our reality, while resisting to forget what has disappeared and those that are no longer with us. The ghosts of liberation are not in the past but in the haze of the present; in our stutters. If our sixth sense is the body’s ability to sense its location and actions in space without visual guidance, Mimi excavates the sixth sense of images in Come Along My Fog; their ability to affirm their location in history when they are robbed of narration. 

– Nadim Choufi