Forgetting Is the Sun seeks to restore dignity to the act of forgetting. The work juxtaposes original footage from the artist of his grandmother—who silently counts a tespih in the face of a medical memory test being administered to her by an acousmatic narrator—with borrowed footage from two essay films which challenge state sanctioned regimes of remembering: the Iranian poet and filmmaker Forough Farrokhzad’s The House is Black (1962), and the Moroccan poet, filmmaker, and writer Ahmed Bouanani’s Mémoire 14 (1967). Weaving together the falsely dichotomized registers of biological memory and collective history, Forgetting Is the Sun recontextualizes Farrokhzad and Bouanani’s defiance of state sanctioned remembrance through the lens of individual forgetting—and its resistance to medical capture.