By: Rahim "Mr. Kurd" Rashidi, Media Fellow

When Akam Rezaee talks about cinema, there’s a fire in his voice—a blend of passion, purpose, and persistence. Born in Mahabad, in the heart of Rojhelat (Eastern Kurdistan), Akam didn’t grow up with film schools, industry connections, or cutting-edge equipment. But what he did have was curiosity—and a fierce drive to tell stories. Today, he's a VFX Supervisor and filmmaker whose credits include productions for Netflix, Apple TV, Showtime, and Paramount, as well as projects produced by Tom Hanks and Steven Spielberg.

We caught up with Akam to talk about how he went from a handheld camera in the Kurdish underground music scene to contributing to some of the biggest productions in Hollywood.

No Film School? No Problem.

“There was no place to study filmmaking in my hometown,” Akam says.
“So we just started shooting.”

With borrowed camcorders and sometimes even phones, Akam began making music videos for local artists and short films with friends. His raw but inventive style quickly stood out. His work introduced storytelling, lighting, and even visual effects into a regional scene where none of that had been done before.

“I wouldn’t say I invented anything,” he says, smiling.
“But I do think I helped push our scene forward—visually, emotionally, technically.”

The Road to America Wasn’t a Red Carpet

Akam’s journey wasn’t just creative—it was political. He spent years as a refugee in Turkey before finally receiving asylum in the United States. But the dream of Hollywood wasn’t waiting with open arms.

“When I got here, I felt like I was 100 steps behind everyone else. I didn’t go to school here. I didn’t know anyone. I went to every event, messaged anyone I could—even total strangers. It was exhausting—and for a long time, it felt hopeless.”

But he didn’t stop. Instead, he looked for an edge. That’s when he found Gnomon—one of the most respected visual effects schools in the world.

A New Language: VFX

“I realized VFX was something that every film and show needed. And I already had a passion for it—but now, I wanted to master it.”

Gnomon became the turning point. Through technical discipline and sheer persistence, Akam broke into the VFX industry. He went from learning the software to delivering shots for indie films, studio features, and high-end episodic TV.

“Eventually, I got to work on some incredible projects—films produced by Spielberg, by Tom Hanks, by major streamers. It still feels surreal.”

VFX Supervisor and Storyteller

Today, Akam splits his time between supervising visual effects and pushing toward his dream of directing. His work includes everything from photoreal set extensions and car crash sequences to subtle compositing and CG integrations.

“To me, good VFX should feel invisible. If it breaks the story, it fails. But if it enhances it—emotionally, visually—that’s the magic.”

Akam has also served as a jury member for the Duhok International Film Festival, specifically in the Kurdish feature category—bringing both his technical expertise and his passion for storytelling back to his roots.

Giving Back to Kurdish Cinema

Despite his Hollywood résumé, Akam hasn’t turned his back on where it all started.

“I rarely see high-end VFX, color grading, or cinematic technique used in Kurdish cinema. Not because there’s no talent—there’s tons—but because there’s no access. That’s why I want to give back. Bring what I’ve learned here back home.”

He’s also produced films with longtime friend and collaborator Apo Bazidi, a filmmaker he credits as a major supporter.

Still a Student of Cinema

Even with years of professional experience, Akam doesn’t see himself as finished. Not yet.

“I always say I want to learn every piece of the puzzle. Every department. Because when I finally step fully into directing, I want to speak the full language of cinema. Not just the dialogue—but the camera, the rhythm, the light.”

Rahim "Mr. Kurd" Rashidi is a media fellow of the Gold Institute for International Strategy, a Washington, DC-based think-and-do tank.