The Forest is my Grandmother approaches the memory archive from a non-anthropocentric perspective, considering generations of familial memories as being held within the forests in which they were made.

The Northern California Coast is used as a case study with redwoods whose time-scales extend beyond anthropocentric perception. Drawing on concepts from The Overstory by Richard Powers and North Woods by Daniel Mason, the forest is considered not as a collection of separate entities but as a communal, sentient system.

The film entwines personal memory with ecological specimens through family scrapbooks, archival photographs, archival footage, and self-shot footage, treating the forest as a repository that holds traces of human presence and memory long after departure or diaspora. These tactile, DIY methodologies refuse the traditional framework of contemporary film-making practices exploring an alternative exploration of time and memory perception from an ecological standpoint.