Tourist With A Typewriter Ltd. is an independent production company dedicated to creative human rights and social justice films. It was founded in 2004 by filmmakers Saeed Taji Farouky and Gareth Keogh in order to tell creative, challenging, humanistic stories.

You can watch trailers for our film below. Most of our films are also available to buy or rent online, just click the button at the top right of the trailer.


Strange Cities Are Familiar is a film about memories, guilt and resilience. It tells the story of Ashraf, a Palestinian father living in the UK, struggling to confront the memories that haunt him, the promises he couldn’t keep, and the family he couldn’t protect.
Winner, Best Short Film, Rome Independent Cinema Festival
Winner, Best Short Film, Nazra Film Festival 

Strange Cities Are Familiar from Candle & Bell on Vimeo.

The fictionalised story of an Indigenous Australian man invited to London for the Colonial Exhibition of 1886.
Channel 4 Random Acts commission
Winner, Best Short Fiction (Royal Television Society Northeast & Borders),
Best Actor (Tom E. Lewis) & Best Director (Canberra Short Film Festival 2017)

TELL SPRING NOT TO COME THIS YEAR (more about this film...)
The war in Afghanistan, through the eyes of the Afghans who live it.
**Now available on iTunes, Amazon, Google Play, and DVD**

World Premiere & winner of two awards, Berlinale 2015
Grand Prize, DocumentaMadrid 2015
"A powerful, beautifully shot documentary..." ★★★★ (The Guardian)
"They have gone where few directors dare to venture." (Hollywood Reporter)
"Even the most visceral of Hollywood war movies don't come close." (The List)


An experimental Arctic documentary that blurs the line between fiction and documentary.
Best Film From the North, Tromso International Film Festival, 2013
"Daring, original and stunning..." - Elizabeth Radshaw, Hot Docs
"The documentary is beautifully shot and ladled with atmospheric images." - Lucy Morris, Dazed Digital

THE RUNNER (more about this film...)
The story of a champion long-distance runner from Africa's last colony: Western Sahara.
"The Runner is an excellent and necessary way of telling the 'forgotten' story of Western Sahara." - John Pilger"
" This is a very important project. The story of the Western Sahara is one of the great untold stories of the present time." - Ken Loach

I SEE THE STARS AT NOON (more about this film...)
A Moroccan man's illegal journey to Europe

(2015) (return to top...)


Tell Spring Not to Come This Year follows one unit of the Afghan National Army (ANA) over the course of their first year of fighting in Helmand without NATO support. It is an intimate film about the human side of combat, told from a largely unheard and misrepresented perspective, that explores the deep personal motivations, desires and struggles of a band of fighting men on the frontline. Without a NATO soldier in sight, and no narrative but their own, this is the war in Afghanistan, through the eyes of the Afghans who live it.

The film received its World Premiere at the Berlinale in February 2015 and was awarded the Amnesty International Human Rights award and the Audience Award for best documentary.

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DocPoint, Helsinki Documentary Film Festival, Jan. 26 & 31, 2016. Get tickets here
Oxford University, Tim Hetherington Society Film Festival, Feb. 1, 2016

Berlinale 2015, Amnesty International Human Rights Film Award
Berlinale 2015, Panorama Audience Choice Award
DocumentaMadrid 2015, Grand Jury Prize
MISAFF 2015, Best Film
MISAFF 2015, Sabeen Mahmud Award for Courage in Filmmaking

Tim Hetherington Award (Sheffield Doc/Fest, 2015)
Grand Jury Prize (Full Frame Documentary Festival, 2015)
First Prize (DOXA, 2015)
Grand Prize (Basel Bildrausch, 2015)

"Tell Spring Not to Come This Year has urgency and power." ★★★★ The Guardian
"A gripping picture of combat to rival any war documentary." ★★★★ The Sunday Times
The filmmaking "elevates Tell Spring Not to Come This Year above the vast majority of documentaries dealing with this conflict...and at times brings to mind Terrence Malick's The Thin Red Line." Sight & Sound
"A vital, gripping documentary." ★★★★ Total Film
"A remarkable documentary." The List
"A vital, beautiful exploration of a broken country." Felix Online
"It expresses itself best in small subtler moments." 9/10 The London Economic

Co-Director & Cinematographer: Saeed Taji Farouky
Co-Director & additional camera: Michael McEvoy
Producers: Elizabeth C. Jones, Saeed Taji Farouky, Michael McEvoy.
Executive Producers: Robert Elliott, Scott Brown, David Kennedy, Nick Quested
Editor: Gareth Keogh
Editorial Consultant: James Longley
Production Manager: Ellie Davis
Music: Joe Lewis

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There Will Be Some Who Will Not Fear Even That Void is an ecological film for the 21st century.

It is a film about the future of our planet that turns the traditional environmental documentary on its head. Rather than looking at our influence on the environment, ...Even That Void examines the environment's influence on us - emotionally, psychologically and ethically. The film suggests that the limits to exploring and dominating nature are no longer technological, but moral. We now have the technology to "conquer" virtually any part of the planet if we want to - the question is no longer "can we" but "should we"?

...Even That Void was shot over a two and a half week sailing voyage on a tall ship carrying twenty artists around Norway's remote Arctic islands. The documentary chronicles the bizarre, surreal and beautiful work of the artists, living aboard the ship, landing daily and making work in response to the extreme environment and innate poetry of the Arctic landscape. The film's narration is composed of audio interviews with the artists and the Director's reading of his lyrical expedition journals.

While the footage is real, the plot - inspired by the other-worldliness of the location and recent events in the Director's own life - is fictional. The Director imagines the artists as a team of specialists sent on a mission in the near future to rebuild the Arctic environment after it has been decimated by global warming. With no master plan, maps or blueprints, each artist recreates the Arctic of his or her own memories, fears, desires and (flawed) expectations.

The film also features an experimental soundtrack. Under the musical direction of composer Joe Lewis, each track is written and produced by one of Norway's leading ambient artists, using no sounds other than manipulated and remixed field recordings collected during the expedition by pioneering Australian sound artist Daniel Blinkhorn.

The film follows a typical expedition narrative - a ship sets sail on a hazardous mission with a motley crew of experts. Will they succeed in their mission? Will they return safely? But the standard adventure plot becomes a surreal dream-like futurist fantasy. The sense of wonder at the landscape is balanced by darker contemporary concerns: global warming, the Arctic resource race, the political tension of a militarised Arctic and the disappearance of the last great wilderness.

Ultimately, the film is a love-letter to the Arctic: obsessive, tumultuous, affectionate, heart-breaking. The demise of the Arctic environment is felt as the death of a family member. The title is taken from a letter Johannes Kepler wrote to Galileo Galilei in 1610, musing on the future of space travel. "Provide ship or sails adapted to the heavenly breezes," Kepler hypothesised, "and there will be some who will not fear even that void."



We do not want to conquer, we want only to explore. We want simply to enquire. To do this, we map our trajectories across the landscape, to know where we've been and what we leave behind. To know what residue our presence leaves on the environment. And to prove it to others. And to ensure we do not repeat the same mistakes again - the Victorian adventurers who measured and categorised and identified and named as an act of ownership.

We, too, will measure and categorise and identify, but for different reasons. To make these measurements, we use those same machines of exploration: an aerial vehicle, an underwater vessel, a sailing ship. With these we measure the conditions of our surroundings and ask "what have we left behind that we did not intend to? Is it inert, innocuous? Is it poisonous?"

But even as we measure, our machines influence the environment further. They are measuring themselves. There is a feedback loop. There is reflexivity, the Observer Principle. These minute anomalies must all be measured.

But wait.

Is this exploration only one-way? Is it not reciprocal? What of the environment's influence on us? Not only the physical, but the psychological, the emotional. How is this measured? How do we map inspiration, awe, joy, intimidation, confusion, fear, loneliness?

The Arctic also explores us and she, too, leaves a residue. To this end, the camera is my measuring device. I observe the other crew members exploring and measuring over three strata (air, land and sea). I explore with them. I watch. I react. I question. I participate and agitate. I have no sense of direction or spatial awareness, so I and the camera can be lead only by basic sensory and emotional responses.

I challenge my body every day as I train for long-distance running. My work should commit to the same level of intensity, and through that physical challenge I will record also the non-physical. I record the emotional because it is, after all, at the point of extreme physical exertion that my emotional state is at its highest.

The Arctic has a physicality. It is defined, above all, by one singular characteristic: cold. To understand the Arctic, we must experience this physicality. Only the body can recognise this nature of the Arctic.

The Arctic has also a non-physicality. It is defined, above all, by the absence of everything we recognise and relate to. To understand the Arctic, we must experience this non-physicality. Only the camera can recognise this nature of the Arctic.

Saeed Taji Farouky, Sarah-Jane Pell, Connor Dickie - February 2011


A selection of Director Saeed Taji Farouky's images from the Arctic expedition, available as exclusive, signed prints to buy

To date, the film has been screened at:
Dark/Light Festival (Dublin, Ireland), April 2014
Northern Character Film & TV Festival (Murmansk, Russia) November 2013
Night / Shift Arts Festival (Kitchener, Canada), November 2013
Nordic Film Days Festival (Lübeck, Germany), October 2013
Nordkapp Film Festival (Honningsvåg, Norway) September 2013
World Premiere: Doxa Film Festival (Vancouver, Canada) May 2013
Tromsø International Film Festival (Norway), January 2013 **Winner Tromsø Palm (Best film from the North)**


The film features the work and contributions of a group of exceptional, international artists, including;
Chantal Bilodeau (Canada / US), Daniel Blinkhorn (Australia), David Bowen (US), W. Benjamin Bray (US), Kevin Cooley (US), Connor Dickie (Canada), Rebecca Hunt (UK), Dawn Johnston (Canada), Yva Jung (South Korea), Nam Le (Australia), Cheryl E. Leonard (US), Marcelo Moscheta (Brazil), Ed Osborn (US), Ian Page (US), Sarah-Jane Pell (Australia), Leticia Ramos (Brazil), Jessica Segall (US), Paul Segers (Netherlands), Oona Stern (US), Wyn-Lyn Tan (Singapore), Renhui Zhao (Singapore)


Director & Cinematographer: Saeed Taji Farouky
Producer: Marie-Therese Garvey
co-Producer: John Arvid Berger, Jabfilm (Norway)
Artistic Advisor: Camille Seaman
Editor: Gareth Keogh
Editorial Consultant: Jesper Osmund
Conceived by: Connor Dickie, Sarah Jane Pell, Saeed Taji Farouky
Co-writers: Saeed Taji Farouky, Gareth Keogh, Marie-Therese Garvey
In collaboration with: Anita Doron
Music Supervisor: Joe Lewis
Distributor: DR Sales (Denmark)
Broadcasters: NRK (Norway)

This project was supported by:
The North Norwegian Film Board
The Royal Norwegian Embassy London
Stama outdoor gear


Inventor/Artist/Futurist Connor Dickie
The inspiring work of Sarah Jane Pell
The incredible beauty of (artistic advisor) Camille Seaman's polar photography.
Writer Barry Lopez and his Arctic Dreams, the expedition bible...
The meditative video work of former Arctic Circle resident, Janet Biggs
The wonderful world of Eskimo Psychogeography...

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The Runner is a film about endurance. It is the story of a champion long-distance runner whose journey transformed him from an athlete into the symbol of a national liberation movement. Salah Hmatou Ameidan is willing to risk his life, his career, his family and his nationality to run for a country that doesn't exist. He is from Western Sahara, officially Africa's last colony and under Moroccan occupation since 1975.

30 year old Salah grew up under Moroccan occupation in Western Sahara. He is a Sahrawi, a native of the area. By 14 he was recognised as a talented athlete and was forced to join Morocco's junior athletics team, under threats to his family. By 1999 he was the triple cross-country champion for Morocco, had won 2nd place in the Africa Championships and was two-time Arab World Champion. In 2003, during a race in France, he took a risk from which he and his family have never recovered.

As he approached the end of an 8km race in first place, he pulled out a Sahrawi flag - illegal in Morocco and a symbol of the independence movement - and waved it across the finish line. Knowing he could never return to Morocco safely, he immediately sought political asylum in France and has been there ever since. He was offered citizenship by France and Spain, but refused both, saying he would never run under any flag but that of a liberated Western Sahara.

Salah insists, whenever possible, on representing the Western Sahara in competition. Today, he is not only one of the highest profile Sahrawi activists in the world, but is seen by his people as a hero, a symbol, an ambassador and a spokesman for the Western Sahara liberation movement.

"Running is part of my resistance. It's the only weapon I have."

Salah has paid heavily for his activism. When still in Morocco, his family home was repeatedly raided. He was blindfolded, taken to prison, interrogated and tortured. Since moving to France, he has been attacked four times by people opposed to his campaigning. Three members of his family have been imprisoned for non-violent resistance in Moroccan-controlled Western Sahara, and his uncle was recently killed by Moroccan police under suspicious circumstances. He has no citizenship, and because he is too controversial for major sponsors, he survives on race winnings and the support of charities.

The Runner follows Salah during two critical years of the "Arab Spring", and examines what drives him to take immense risks, and make huge sacrifices, for a cause that is virtually unknown. The film looks at the burden of being a hero and asks "how long, before you stop running"?

Images from the Algerian shoot of The Runner in February 2010. All images courtesy of and copyright Jo Metson Scott


The TED blog runs a feature on The Runner for the World Premiere
ARISE magazine runs an interview with Farouky
The Irish Independent mentioned The Runner in their Galway preview
Farouky featured on TED blog talking about The Runner and other films
Saeed is invited to write a creative piece about filmmaking for Studio Strike
Spanish / Basque coverage of our screening in San Sebastian, read the articles online or download the PDF here (PDF 3.6Mb)
Dubai's cultural magazine Brownbook features The Runner
An excellent audio piece about Salah on Radio Netherlands Worldwide
US news magazine Guernica's feature interview with Salah
Inc. magazine features Farouky as a TED Senior Fellow
The Compathos Foundation features The Runner
TED Senior Fellow Jessica Green mentions The Runner in this interview
Spanish article about Salah (or rough google translation into English)
Feature article on Salah and the film in Globerunner
Pittsburg Post-Gazette mentions The Runner


Director & Cinematographer: Saeed Taji Farouky
Producer: Elhum Shakerifar
Executive Producer: Mike Chamberlain
Co-Producers: Rachel Lysaght, Estelle Robin-You
Associate Producer: Patricia Tobin Kubal
Editor: Emiliano Battista
Production Manager: Marie-Therese Garvey
Music: Joe Lewis
Sound: Joe Lewis & Brendan Butler
Additional Camera: Hikaru Toda, Jo Metson Scott, Marie-Therese Garvey, Toufique Ali, Farhad Mirza.
Production Stills: Jo Metson Scott, Marie-Therese Garvey
With funding from: Trish Tobin Kubal, The Arab Fund for Arts and Culture, The Irish Film Board, Barry Amiel & Norman Melburn Trust, Samuel Rubin Foundation, NRK, Storydoc (EDN), Goldsmiths University, Sandblast Arts, and numerous individual supporters.
With additional support from: Creative Visions Foundation and Compathos Foundation

Tourist With A Typewriter (UK)
Underground Films (Ireland)
Les FIlms du Balibari (France)

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In January of 2004, in the northern Moroccan city of Tangiers, first time documentary filmmaker Saeed Taji Farouky met a 26 year-old Moroccan named Abdelfattah. He was a clandestine, one of many Africans who try to cross the narrow Straits of Gibraltar and illegally enter Spain by stowing  away on cargo ships or boarding inflatable rafts. By the end of their first meeting, Abdelfattah had agreed to let Saeed follow him to film every aspect of his journey, including his dealings with people-smugglers, his struggle to  raise the 750 Euro fee, and his final days with his family before leaving.

I See The Stars At Noon offers a unique and revealing insight into Abdelfattah’s desperate attempt to reach Europe. At times humorous and disturbing, it intimately examines the circumstances that lead him to risk everything for an utterly uncertain future: his ambitions for a new life, his expectations of what Europe can offer him, and his frustration at the failures of his own Morocco.

Hundreds of Africans attempt to cross the Straits of Gibraltar illegally every month for what they believe is a better life in Europe. They are willing to lose their friends, their families, and even their lives to chase this fantasy. Currently, immigration into Europe is an extremely controversial subject, and while EU members continue to demand secure borders, the controversy will not be easily resolved.

But I See The Stars At Noon is not only a portrait of a hopeful immigrant; it is also an exploration of  the nature of documentary filmmaking and objectivity. The traditional relationship between  filmmaker and subject is thrown into question when Abdelfattah asks why his life is being filmed for the benefit of European audiences, and what he deserves in return. Such issues are rarely dealt with in documentary film, and by addressing them head-on, I See The Stars At Noon stands out as a highly  original and deeply personal look at the dilemma of illegal immigrants.

Director & Camera: Saeed Taji Farouky
Producer: Gareth Keogh & Saeed Taji Farouky
Composer & Sound Mix: Joe Lewis
Editor: Gareth Keogh
Additional sound mix: Dan Willis
Translation: Esmat Allouba
Additional Translation: Ismail Guennouni
Funding: Mohannad Farouky & Fergal Keogh

"An excellent piece of work."
- Roger Thompson, BBC Storyville

"A beautiful film."
- Jessica Linzey, The Frontline Club, London

"I See The Stars At Noon of the most poignant and relevent films on asylum I have seen."
- Charlie Devereux,

"Another documentary that should be sought out...Farouky generates an intimate and nuanced portrait of an intelligent but increasingly desperate young man...The film brushes against the ethics of the documentary process as well as that of the migration."
- Jim Quilty, Lebanon's Daily Star

"I See The Stars At Noon is the poignant, deeply personal tale of Abdelfattah...that humanises those that are otherwise faceless."
- Sharif Hikmat Nashashibi, Sharq Magazine

"This is an important documentary for the 21st century because the subject, Abdelfatteh, knows about the role of the filmmaker and challenges the documentary-maker on camera. It makes viewing both uncomfortable and enlightening."
-Tania Mathias (Documentary filmmaker)

"The best documentary films are, of course, those which do not trust themselves. One of the best examples of this highly interesting I See the Stars at Noon...All the old ethical questions of the genre, around the degree of participation of the documentary filmmaker, are very specifically addressed."
- Peer Schmitt, Junge Welt, Germany

"Absorbing and shows the picture from the other side."
- Susannah Tarbush, The Saudi Gazette

"...offers an intimate look at the topic [of illegal immigration]."

Official Selection:
Freiburger Film Forum, May 2007
Diagonale 07, Graz, Austria, March 2007
Mizna Twin Cities Arab Film Festival, March 2007
Montreal Human Rights Film Festival, March 2007
Dokfestival Leipzig, Germany, Nov 2006
Ayam Beirut Al-Cinema'iya, Lebanon, Sept 2006
TransArab 2, Canary Islands, July 2006
OVNI Festival, Barcelona, June 2006
Geneva International Human Rights Film Festival, Mar 2006
Dubai International Film Festival, Dec 2005
IDFA, Amsterdam, Nov 2005
Toronto Arab Film Festival, July 2005

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Tourist with a Typewriter
is a member of Creative Visions' Creative Activist Program. Creative Visions is a publicly supported 501c3 (U.S. non-profit), which supports Creative Activists who use the power of media and the arts to affect positive change in the world. Any U.S. donation to our work through Creative Visions is tax-dedictable (and always appreciated!).