Spanish with English Subtitles A central component of the research project of which this film is a product, was the aim to establish relations of trust between social groups in the region who have historically been in conflict over access to land. Bringing together peasants, indigenous, Afro-Colombians and ex-guerrilla fighters in the same space, allowed them to share their own views and experiences while listening to others. Consequently, a potent inter-cultural and inter-ethnic space was created that allowed for difference to exist, while at the same aiming for the construction of a shared history and future. In that sense, the project aimed to de-politicize difference and de-escalate tensions between the various ethnic communities, encouraging to see the benefits of increasing cohesion and the breaking down of borders. PazAltoCauca describes an engaged research project on peace and state building in Colombia in the aftermath of the Peace Agreement with the FARC-EP guerrilla. It addresses the historical violence and the intercultural challenges in the Cauca region, and explains how our project attempted to contribute to peace-making with research methods based on popular education, participatory action research and social design. We hear the voices of rural inhabitants, who live in areas heavily affected by the armed conflict, which gives an emotional face to a research on geographies of peace.

Australia In 2019, we collected ‘B-roll’ footage from three locations in regional Australia during the first year of a three-year research project. During 2020, due to border closures, we were unable to return to complete filming but instead decided to make this short video. Inspired by Linda Lappin’s Soul of Place, we tweet to the landscape. Lappin suggests that in tweeting to landscape, writers should '[l]ook for the beautiful, sublime, picturesque, strange, or comic. Strive for the haiku effect' (p. 43). By combining this with panoramic images, we foreground what would have otherwise been the background while gesturing towards the posthuman. This film was made as part of a three-year project called Engaging Youth in Regional Australia, funded by the Australian Research Council. It was initially planned as a collaborative film-making project that would involve regional youth during 2020. In the first year of the project we travelled to these areas and took preliminary B-roll footage for potential use in the film-making stage of the project which was planned for the following year. Due to border closures in Australia, we were unable to return to these areas and complete the film. Having only B-roll footage presented a challenge as to whether it was possible to make a short video that foregrounded what we had originally intended would only form the background of what would be a human-centred production. We approached the making of the film from a posthuman perspective - one in which the human and non-human are entangled and not separate from one another. Each location in the study is heavily invested in primary production in Australia and so human intervention in the landscape as well as the ability of the landscape to resist these interventions are both evident. We decided aesthetically to use panoramic footage and include a 'text crawl' with a minimal amount of writing that might prompt a posthuman 'reading' of the landscape. Linda Lappin's book, The Soul of Place, provided inspiration for the text as tweets. We reference this with the use of hashtags. We are both creative geographers and have worked in various performative ways in past projects. Candice, especially, has experience in video editing and production but she has never before used B-roll footage in this way. There were many practice-based insights that we gained from being originally immersed in landscape to re-visiting that footage and then responding to it that are difficult to put into words. However, foregrounding the landscape and responding to it in an experimental way resonated with some of the more traditional, qualitative interviews that were conducted with participants as part of the wider project. In particular, the affective and material dimensions of regional youth engagement, whereby young people appreciate and treasure the natural environments in which they live, was something that we more keenly appreciated. Selected Reviews There is no sound as this is originally designed as an installation. There is a rendering of disjointed (posthuman) landscapes: urban environment with transportation, and physical landforms. Accompanied by texts. Could be a useful teaching tool if background is included when shown to students.

Italy Costa Rica Spanish (English Subtitles) There is a sound echoing across the forest of Talamanca. It reveals the extraordinary in the ordinary universe of Justo, BriBri farmer, father and adventurer. Part of a wider project of research on environmental conservation across the cordillera of Talamanca, Costa Rica. Bribri people are ancestors here; it is because of their ways of living that Talamanca is today a global biodiversity hotspot. From an indigenous perspective conservation refers to ‘ways of living’ rather than expert practices, projects, measurements, etc. We tend to assume that indigenous lifeworlds are sedimented and ancestral but my with film I intend to show that Bribri lifeworlds are always open to world, to the life forms of the forests and those that flow to the ocean, in between geographical remoteness and global tourism. Selected Reviews Done so well. Silent but high impact images. The camera sits alongside, the audience is made to feel welcome but also clearly demarcated as outside. A homage to adventure.

Czech Republic Eastern Serbia Cultural Geographies Serbian (English Subtitles) As a child, Ivanka was chosen by fairy women for the special task of entering the realm of the dead to discover the future. As an old lady, the spirits have left her, so how does she navigate between the two worlds now? This experimental short documentary seeks out Ivanka, a woman who lives in rural Eastern Serbia and who spent most of her life falling into trance to enter the realm of the dead and learn about the future. Ethnographic archive materials from her days as a prophet are interwoven with contemporary footage shot now that the supernatural forces have left her. As such, the film aims to play on dualities of time and ontology to explore how this experience has affected her relationship to the landscape that surrounds her, while also engaging in a meta discourse on the digital nature of film and visualisation of memory. Selected Reviews The film is about people and places done through traditional singing that talks about fields and flowers and karst topography. Unusual and offers a window to a culture in specific locale that perform this ritual.

UK This film is part of a research project exploring the relationship between movement, place and chronic pain. The subject of the film, Emma, lives with persistent pain which contracts her use of space. Emma used to snowboard and Emma could probably still snowboard. This film offers images of Emma moving through familiar pathways in her kitchen overlaid with sounds of snowboarders and the Swiss Alps. Alpen shows something of the intricacy of Emma’s movements: her rolling shifts in weight from side to side, the way she moves her hand to stool to knee on stool, spreading weight through multiple points of support as she moves round and round her kitchen. It points to the creative and highly skilled way that someone with chronic pain navigates and conjures space, and the intense creativity and somatic intentionality of the movement of relapse and recovery, positioning and re-positioning, within the movement of those who live with chronic pain. This work led to further thought concerning the way the constant reparative shifting of weight or position, often demanded by pain, can generate an unsettled embodied affect (a kinaesthetic irritation) in others because it draws attention to pain. Not being to stay in one place signals an unreliable body that keeps changing its plans, having a change of heart , having to lie down and drawing attention to itself by taking up (from a non-pain perspective) too much space. Continuous adjustments like these can create, what film theorist Mary Anne Doane describes as ‘an overly present body’ (1985:206), that is too much where it is. Selected Reviews Interesting use of fixed image on a fridge A wonderful and artful examination of the domestic and intimate space of a kitchen with texts that accompany the wordless unfolding narrative. So many layers can be discussed by students and viewers alike. I like the stark simplicity of this film.

USA Korea Korean (English subtitles) Palmiri, a village in Gangwon Province, is located in between mountains. Once a small village of Shim families, the current residents of Palmiri are mostly single households of women in their late 70s and 80s. Lacking government support the residents are still supporting their extended families through farming. This film focuses on the lack of support in Palmiri. While communal living provides an alternative to the lack of support, caregiving requires a lot of human labor. Because the residents are familiar with being a caregiver, they had no trouble for the last 15 years. However, they are facing hardship as everyone in the village is getting old. One challenge that I faced for this film was the topic I chose. Originally, other parts of the project focused on gender division. For instance, one of the residents who I spent most of my time with backed out because her son disproved her appearance in the film. Even now, the women provided care labor for the village while complaining. I believe providing this context is helpful for the viewers. Selected Reviews Emotional. It’s interesting to discover this women community out of time and without any assistance. A thought-provoking and gentle study of resilience and gender solidarity yet also a sense of unfairness resonating in a rural and remote location.

Japan Japanese with English Subtitles Ethnography Experimental This film is set out to explore the relationship between body and the environment and to express a different perception of Nature, a non Westernized one in which humans are a part of it. Yuki Yuko's image of the body is an extension of her surroundings, and her dance is incessantly a becoming: a snake, a bug, a swan or an animal. Her dance techniques give the impression that even during a conversation or when having lunch she is continually dancing. Yuki Yuko sees that any movement and existence equals with dancing and the film attempts to express the intensity of her dance. I have made this film after 3 years of fieldwork and I purposely opted for a style that would be true to the rhythm of dance, without a narrative. I used an old Sony digital camera that became a part of my own body and the team was formed of 3 women. I have changed roles and made the dancer film some images herself, or the editor be the cinematographer. I purposely cut the sound in some scenes because the dancer whom was participating in the editing process desired it and was a way to express the "silence of her being". This may give the viewer an uncomfortable feeling or the impression the film is not finished or edited correctly but I think bodily expression and perception of sound and mood needs to stay true to images and the unease a viewer perceives is of his own body. I also didn't use any explanations and commentary of the images because in this way the viewer would be more open to understand the images directly the effect he/she would have by watching a performance. Selected Reviews It deals with the personal perception of a single artist. Very unique perspective of a Butoh dancer and how place and nature come together. A brave effort to depict the art of avant garde artist Yuki Yuko who risked being misunderstood but whose engagement with the elements of nature to her dance remains fiercely committed.

France Athens, Greece Migrant Crisis, Cities/Urban Life, Housing/Gentrification, Covid-19/Pandemic Turkish (English Subtitles) Following the life of a Turkish political refugee living in a squatted neighbourhood in Athens. My first purpose was to raise the voice of political refugees, who have crossed the borders to escape persecutions in their own countries. I wanted to explore the connection this man has constructed with this alternative living space. The squatted neighborhood is a complex space itself, with its own rules, system and cycle but after all, it is a refuge for refugees from all around the world as well as any one who share the dream of an alternative way of life. This was the biggest squat I have seen and I was fascinated from the collective work that keeps this place alive. In those straitened circumstances, they try to implement a horizontal administrative system based on solidarity. My biggest challenge during the filming was my lack of filming equipment. And also, I think I should have stayed there even more to realize a full-length film about the squats, by listening to more stories to show the different trajectories. As I am a political refugee as well, I face similar difficulties to stay in different European country so I didn't have the means to stay there longer. Selected Reviews An important contemporary testimony with geopolitical value. Stories of exile in Greece, the hardship, the everyday challenges and quotidian ways of living in your adoptive country. Instead of talking heads, talking bodies are shown interspersed with random occurrences in the urban area including people, places, cats, and practices.

USA Oklahoma English A portrait of Polly Edwards , a Native American (Caddo) woman who directs Tribal environmental and emergency management programs in Oklahoma. Laurel Smith co-produced with Native undergraduates, Loren Waters (Cherokee and Kiowa) and Mia Riddle (Choctaw, Creek, and Chickasaw). Teaching Objective: To illustrate how Tribal environmental professionals serve their communities and encourage Native youth to consider environmental careers. Inspired by Indigenous media made in Oaxaca, Mexico, I co-produced this 8-minute video with two Native undergraduates, Loren Waters (Cherokee and Kiowa) and Mia Riddle (Choctaw, Creek, and Chickasaw). During the two years it took to coproduce this short film, we learned that Tribal Environmental Professionals (TEPs) serve Tribal and non-Tribal communities by monitoring water and/or air quality, remediating brownfields, managing natural resources, composing funding proposals, and/or overseeing educational outreach. To undertake these tasks, they work with entities such as Oklahoma’s Department of Environmental Quality, research centers at state universities, and federal science agencies such as the United States Environmental Protection Agency (EPA) and the United States Geological Survey. TEPs also collaborate together through organizations such as the Inter-Tribal Environmental Council and the Regional Tribal Operations Committee. We also learned vital clues about key Tribal leaders and Oklahoma representatives in Congress whose efforts led to the emergence of such Tribal environmental programs starting in the early 1990s. Filmmaking allowed us to identify the scope of a larger research project, establish relationships that will facilitate a participatory-as-possible approach, and led to funding for a third TEP video portrait. It also somewhat redressed the hierarchies that all too often characterize research focused on Indigenous geographies. We worked as closely as we could with TEPs, not just to learn about their careers, but also to strategize on what aspects of their education and experience they most wanted to share with us and later viewers. Selected Reviews This is an informative film about the collaborative practices of Tribal Environmental Professionals, what it is and they do, using Polly Edwards as example.

Canada Greece, Macedonia, Serbia, Hungary, Austria and Germany Political Geographies, Social Geographies English Subtitles In 2015-16, Europe was the destination of nearly one million refugees, the majority of whom traveled a historic migratory route through the Balkans to reach Germany. This film examines the trace left by this exodus among those who have witnessed it along the way with a mix of testimonies and analysis of people whose lives were transformed by these journeys. The film aimed to grasp traces, testimonies and memories of the 2015 exodus on the Balkan route. Each protagonist was met on a step of the exodus route, and the whole movie is tracing back the exiles’ journey from Turkey to Germany in 2015-2016. Departing from massive arrival images leaving feelings of “invasion” and crisis in people’s mind, the documentary sought to reach individual perspectives. This posture is fundamental to challenge the dehumanizing process conveyed by imprecise macro data and schematic description of migration trajectories. Gathering testimonies of volunteers and local people confronted to this new migratory reality was also a way to address the gap between the watcher posture and the migrants’ experience, creating a room for identification with the overall situation. The witnesses of exile are from different gender, professional and cultural backgrounds, each of them adding their own story and vision to the big picture. The project aimed to document the lasting consequences of these migrations on people’s minds and lives, traces without physical materiality that needed to be preserved and disseminated. It was my very first filming experience, with a Go-pro Camera and a micro generally used to make interviews with respondents during the research. I realized, when the idea of making a documentary came out of visioning the images, that I really grasped each encounter in a “social scientist way”. I learned much more about the filmmaker reflexes, such as the enlightenment of the background, and other fundamental aspects by working with the Film editor. The encounters were filmed with a very little amount of camera movements and a cuts and in order to give an immersive feeling to the viewed. It was also a filming laboratory for me. As the director of the Canada research chair on global migration, filming this migratory road was a meaningful process in order to make visible and understandable the complexity of migration phenomenon. Doing this two years after the beginning of the exodus was a conscious choice, in order to go out of the “emergency temporality” to reach the traces and collect them. It is an attempt to turn it into an “heritage”. It also, on its pedagogic dimension, show the setup of a social science research through conversations and co-construction of qualitative data. This kind of support can illustrate courses and give an overview of semi-guided interviews for the students. Selected Reviews A wonderful documentary about the Balkan migration. Very compelling narrative style with clear narration. Well financed with map animations and animated respondents. For the requirement of a short film, this film can be also be screened in 3 segments.