Context

Two documentaries, four years apart, produced by the same Doha Film Institute partnership — Bophana Audiovisual in Cambodia and the Royal Film Commission in Jordan. The brief repeated itself: a single visual idea that would work from A4 paper to a vertical Story on a phone, bilingual EN / AR, with no photograph acting as a crutch.

01 · Breshna (2024)

Directed by Obada Al Jorbi — a documentary built around memory, archive, and translation. The film’s title became the poster. No photography as anchor — just a single typographic treatment with a quiet archival gesture underneath. Each adapt reframed the title, never re-skinned it, so every screen size felt intentional rather than derived.

02 · Women of Steel (2020)

أُخت رِجال — a quiet, close-focus portrait of resilience directed by Obada Al Jorbi. One still from the film, one bilingual title, one laurel. Nothing else. The Arabic title sits at the same optical weight as the English wordmark, which required redrawing both typographic voices so that neither dominated. The poster treats the subject’s face as the composition’s first and only necessary gesture. Winner, Ajyal Film Festival 2020.

Outcome

Two master A4 posters, two sets of screen adapts (16:9, 1:1, 9:16), two festival submission kits — one typographic language carrying across them. Women of Steel won the Ajyal Film Festival, Doha, 2020. Breshna continued the system into 2024.