Nicolai af Rosenborg: A story about acceptance
In this interview, Copenhagen-based filmmaker Nicolai af Rosenborg tells us how he was moved by his first contact with Hans Hamid's work, how this inspired him to make a film, and how he worked later with him in the Kasbah.
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Zoé Isle de Beauchaine: How did you meet Hans Hamid Rasmussen ?
Nicolai af Rosenborg: The first time I saw one of Hans Hamid Rasmussen’s pieces, it was hanging in my mother’s living room. She had discovered his work at the Martin Asbæk Gallery and connected with it so deeply that she decided to buy a piece from his Kasbah Walking series. At the time, I had just completed my graduation film at the European Film College and was searching for my next project. The artwork stayed with me, and I found myself wanting to know more. As I began researching Hans Hamid, I discovered his deeply personal story. I was struck by the courage it took to return to the country he once fled, using art as a way to reconnect and reflect. I reached out by email. Two weeks later, during one of his visits from Oslo to Copenhagen, we met. My mother and I invited him over for lunch at her apartment. That afternoon marked the beginning of our collaboration.
ZB: What made you want to make a film about him ?
NR: When I first came across Hans Hamid’s work, “Kasbah Walking”, I was moved not just by the images, but by the emotional undercurrent running through them, like a thread holding fragile parts together. There was something deeply personal yet open in his practice. As someone who is half French and half Danish, I know what it means to belong in more than one place, and sometimes, to feel like you belong nowhere at all. Hans Hamid puts words, and images, to that state of in-betweenness. His story of changing his name, of returning to a childhood place that had become foreign, of trying to stitch together his two cultural inheritances felt familiar to me, even though our stories are very different.
What struck me most is the way he transforms pain. Instead of turning away from what’s complicated or heavy, he moves toward it, with gentleness. His embroidery, in particular, carries this quiet strength. Stitch by stitch, it’s like he’s piecing together parts of himself, of memory, of place. Making this film was a way of honoring that. Of showing a story not about resolution, but about acceptance. I believe that many people, especially those who live with more than one language, culture, or self, will recognize something of themselves in Hans Hamid. That’s what drew me in. That’s what stayed with me.
ZB: Could you tell us about your filmic process for this documentary?
NR: From the very beginning, it was important to keep the crew small to preserve a sense of intimacy and trust. Like the documentary itself, we started in Norway to learn about Hans Hamid and his world before making the journey back to Algeria. In Norway, I followed him in his everyday settings: at home, in his studio, and at his summerhouse.
Filming over two years in two vastly different countries — Norway and Algeria — brought significant logistical challenges. We faced setbacks securing visas and filming permits, so finally getting permission felt like a real victory. Visually, the stark contrast between Norway’s calm, desaturated landscapes and Algeria’s rich, sensory environment became a powerful storytelling tool, reflecting the emotional and cultural dualities that Hans Hamid carries with him.
Unexpected discoveries shaped the film, especially Hans Hamid’s own 2001 footage from his first return to Algiers, which became a central, honest narrative thread. Originally personal documentation, it evolved into a standalone artwork titled "We All Come From Different Places". We truly see the journey through his eyes, feel his emotions, and sense what instinctively draws his attention. In many ways, making this film was about uncovering hidden pieces and slowly assembling the puzzle.
Ultimately, the process demanded patience, presence, and trust, allowing the film to unfold at its own pace. The result, I hope, is a deeply personal and visually layered portrait that honors both Hans Hamid’s life and the complexities of cultural identity.
ZB: How was it shooting in the Kasbah?
NR: Some of my fondest memories come from shooting in Algeria, especially in the Kasbah. I traveled with my close friend and cinematographer, Simon Christiansen, knowing this would be the final part of our filming before heading into the editing room. Hans Hamid, Simon, and I slept very little during the trip, waking around 5 a.m. each day to capture the early morning light, the golden hour that is crucial for Hans Hamid’s work. The streets were quiet and still, but what left the deepest impression on me were the buildings and ruins still bearing the marks of the Algerian civil wars, conflicts Hans Hamid himself had fled. It was profoundly moving to witness these traces of a painful history, especially as Hans Hamid sought out new moments to capture through his photography. We spent our days constantly on the move, following Hans Hamid’s lead, chasing moments that felt both beautiful and deeply human. I remember the sound of prayers echoing softly through the narrow alleys, the endless walks through the maze-like streets, and climbing toward the top of the city. Standing there, overlooking Algiers as it slowly woke up, I witnessed some of the most breathtaking sunrises I’ve ever seen.
Interview conducted in June 2025
The photos are taken from the behind-the-scenes of the film Hans Hamid: Stitches of My Story
directed in 2022 by Nicolai after Rosenborg
