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‫آلهة‬ ‫المياه‬
NEJMA
THE GODDESS OF THE WATERS
SET IN AN IMAGINARY PAST
A woman abandoned in the Sahara desert by her people as a human sacrifice for rain, decides to
take fate into her own hands and flees into the unknown. Listening to the whispers of a
mysterious feminine voice, she is lead to a shrine for Nejma the Moroccan Goddess of water.
Drinking water from her bowl she realizes her worth as a woman and is transformed into a
Goddess. A woman destined to die for others, is reborn to live for herself.


A journey to discover her true nature.
Artistic Director. . . . . . . . . . . . . . . . . . JungHoon
Photographer. . . . . . . . . . . . . . Vismaya Vijayraj
Fashion Designer. . . . . . . . . . . . . . . . . JungHoon
Heroine (Model). . . . . . . . . . . . Jasmine
Quintana
Nejma (Model). . . . . . . . . . . . . . . . Athena
Geldis
Hair Stylist. . . . . . . . . . . . . . . . . . . . . Hungji
Dao
Makeup Artist. . . . . . . . . . . . . . . . Athena Geldis
CREDITS



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Nejma the Goddess of the Waters

  • 1. ‫آلهة‬ ‫المياه‬ NEJMA THE GODDESS OF THE WATERS SET IN AN IMAGINARY PAST A woman abandoned in the Sahara desert by her people as a human sacrifice for rain, decides to take fate into her own hands and flees into the unknown. Listening to the whispers of a mysterious feminine voice, she is lead to a shrine for Nejma the Moroccan Goddess of water. Drinking water from her bowl she realizes her worth as a woman and is transformed into a Goddess. A woman destined to die for others, is reborn to live for herself.   A journey to discover her true nature.
  • 2.
  • 3.
  • 4.
  • 5.
  • 6.
  • 7.
  • 8.
  • 9.
  • 10.
  • 11. Artistic Director. . . . . . . . . . . . . . . . . . JungHoon Photographer. . . . . . . . . . . . . . Vismaya Vijayraj Fashion Designer. . . . . . . . . . . . . . . . . JungHoon Heroine (Model). . . . . . . . . . . . Jasmine Quintana Nejma (Model). . . . . . . . . . . . . . . . Athena Geldis Hair Stylist. . . . . . . . . . . . . . . . . . . . . Hungji Dao Makeup Artist. . . . . . . . . . . . . . . . Athena Geldis CREDITS  