I’m a visual documentary filmmaker from the Basque Country, driven by a deep curiosity for people, nature, and the quiet emotions that live beneath the surface of things. For me, filmmaking is a way of connecting with others, with places, and with myself. It’s how I learn to see the world, to listen, and to transform what I experience into something that speaks to the heart.

I began filming in 2018, self-taught and guided by instinct. I believe filmmaking is not about technique, but about presence — about being there, observing, listening, and allowing reality to unfold. My approach is simple: I work with minimal gear, natural light and real sound, aiming to disappear behind the camera so that authenticity can emerge naturally.

Before I became a filmmaker, I spent several years traveling. I lived a year and a half across Asia and Oceania, and another year and a half traveling through Europe in a van. Those journeys changed the way I look at the world. They taught me that there isn’t a single way of living, that people everywhere share similar dreams and fears, and that empathy is the bridge that connects us. Travelling taught me to adapt, to film with what’s available, and to find beauty in imperfection.

My work often revolves around recurring themes — childhood, nature, freedom, and the fragile beauty of everyday life. Light, sound and rhythm are central to my process. I love to play with shadows, reflections and natural light, using sound to immerse the viewer and rhythm to carry emotion. When I use voice-over, it’s not to explain, but to accompany — a poetic layer that invites reflection rather than offering answers.

In 2021, I directed "A School for All of Us, a documentary filmed across Bosnia and Herzegovina that exposes ethnic segregation in the country’s education system. Supported by the Open Society Foundation and premiered at the Sarajevo Film Festival, it was a project that demanded empathy, patience and courage. It taught me the power of trust, how genuine connection can open doors that otherwise stay closed.

My next works, Amed Pickleball (2025) and 67 North (2025–2026), explore different dimensions of human experience. The first, filmed in Bali, reflects on childhood, dreams and the unifying power of sport. The second, filmed in the Arctic Circle, is a poetic journey in search of the Northern Lights, a meditation on beauty, patience and the mystery of nature.

I’m also directing Puentes de la Literatura (2025–2026), a film about an exchange of letters between prisoners in Spain and Argentina that culminates in an artistic collaboration led by Boa Mistura. It’s the first time cameras entered the young module of Soto del Real prison, and the film aims to humanize those behind bars and show that art can transform lives.

Through my small studio, Banuka, I continue to produce independent documentaries that explore what makes us human — films that move between reality and poetry, observation and emotion. I see filmmaking as a form of gratitude, a way to give something back to the world: to draw emotions with light and to celebrate the invisible connections that unite us all.