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Midia Kiasat is a filmmaker, operations practitioner and systems builder. His public work spans directed films, poster and trailer design, festival activity, operational roles, production infrastructure and software concerned with authority, execution, evidence and verification. His current public systems include VERIFRAX, INVOCORDER, BOUNDARYCAM and CINEMATICUM.

Midia Kiasat works across cinema, operations and software systems. His admitted filmography includes fà-me, Paramour, 16:9, Due Day, Abbas Kiarostami and The Upside-Down World, alongside independently evidenced poster work and public trailer design. He has public festival and jury records, including AmiCorti and Reggio Film Festival. His professional record includes logistics and operational roles, while his current public technical work explores how machine action can preserve authority boundaries, evidence and verification. MIDIA CANON connects these domains without collapsing historical roles into a single title and keeps consequential claims tied to inspectable sources and explicit limitations.

Midia Kiasat is a filmmaker, visual author, operations practitioner and systems builder whose public record crosses creative production and accountable technical infrastructure. His admitted directing filmography includes fà-me, Paramour, 16:9, Due Day, Abbas Kiarostami and The Upside-Down World. The cinema archive also contains six independently sourced poster-design records, public trailers for fà-me and Paramour, trailer-design work for The Spit, Third-Person Singular and Witness, and admitted festival or jury records connected with Kaaffilm International Short Film Festival, AmiCorti Film Festival and Reggio Film Festival.

His verified professional history includes operational and logistics roles at Iziwork SpA, emTransit s.r.l. and E-PHOTO S.r.l. Società Benefit. Those records are historical and bounded: the public estate does not infer a current employer, disclose confidential workflows or publish unsupported metrics.

Current public technical work includes VERIFRAX, INVOCORDER, BOUNDARYCAM and CINEMATICUM. Across those systems, a recurring concern is the distinction between what a machine was permitted to do, what executed, what evidence remains and what can later be verified. Public repositories and packages are treated as implementation evidence, not proof of adoption, universal correctness or commercial outcome.

MIDIA CANON presents this trajectory as a current connective narrative. It does not claim that every historical film or operational role was consciously organized around the later technical theory.