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.

USA Oklahoma Yvette Wiley is a Native American (Muscogee Creek) woman who directs a Tribal environmental program in Oklahoma. This film shows her work and personal commitment to her work. They also learn about the educational pathways. Co-produced with two Native undergraduates, Loren Waters (Cherokee and Kiowa) and Mia Riddle (Choctaw, Creek, and Chickasaw). Teaching Aim: To show Tribal environmental professionals serve their communities and encourage Native youth to consider environmental careers. Selected Reviews This is an informative film about the collaborative practices of Tribal Environmental Professionals, what it is and they do, using Yvette Wiley as example.

Germany/South Africa Maasailand, Tanzania Cultural Geographies, more-than-human geographies Due to climate change, the lands in the rain shadow of Tanzanian volcano Meru are increasingly affected by drought. Young Maasai Paulo must find creative ways to feed his first son, who just learned to walk. As his goats lack milk, even for their own babies, he sets out into the dust every morning in search of breakfast. This film aims to explore the interspecies relationality and more-than-human entanglements involved, moving towards a multisensual, multilingual and multispecies ways of knowing. It also sets out to illustrate the agencies and co-becomings of geological formations, Spirit, fauna and flora through an audiovisual geopoetics of Maasailand. The research work that is underlying this film is still a project in progress, and concerns how different ways of knowing -of different peoples, different species and more-than-human agents- can contribute to academic knowledge making. This is part of a larger effort to make the voices of more people and even non-human others heard, and do research with them instead of on them. It is geared towards the decolonization of knowledge in academia, in which Indigenous ways of knowing are not seen as data, but engaged with as part of the theoretical conversation, thus responding to calls for cognitive justice, and extending this even across the species divide. The essentialized dualism of nature versus culture is a relatively recent, specific Northern notion (Descola, 2013; Mullin, 2002), and climate change and the Anthropocene confront us with the idea that it becomes increasingly difficult to keep separating the two (Dibley, 2012; Latour, 2017). As a wide variety of Indigenous peoples perceive and experience human and non-human animal worlds as interactive and indivisible (Ingold, 1994; Rival, 1993), their understandings of personhood, agency and the more-than-human fundamentally challenge Northern notions. These have implications for understandings of knowledge and how to do research, opening avenues to develop more dynamic, relational and multivocal approaches. However, the underlying core Cartesian dichotomy of nature/culture has been difficult to deconstruct, because it forms ‘the key foundation of modernist epistemology’ (Descola & Pálsson, 1996, p. 12). To access the ‘entirely different intellectual landscape, one in which states and substances are replaced by processes and relations’ (Ibid.), often audiovisual recording of data and dissemination of results is much more effective. It appeals to more multisensual, multivocal, contextual and dynamic ways of knowing that broaden and move beyond the mind-centered and often restrictive logic of exclusively verbal communication and information. Selected Reviews The film presents the idea that everything co-exists a chain of relation and dependence. The film is beautifully shot and unfolds at a slow but natural-feeling pace. It closes with a sense of intimacy, which makes it worth watching besides the landscape and animals. It could be interesting to open discussion about watching/observing individuals in their daily routine. Are we othering? Do we watch with exoticizing eyes? Captures the stillness and peace of the location and the man’s struggle to feed his goats. Interesting audio mix seems to focus on certain sounds, eg cow bells.

Portugal Maputo, Mozambique Portuguese (English Subtitles) This short documentary film provides a perspective on the plurality of modes of urban life in present-day Maputo, Mozambique, challenging the colonial idea that the city is divided in two unequal parts, and that the formerly white “cement” corresponds to a normative urbanity that is lacking in the rest of the city. It is a montage of mostly static shots of urban space, interspersed with six short interviews with present-day citizens. The film was created with a team of 4th year students of the Bachelor in Journalism at the School of Communication and Arts of University Eduardo Mondlane. Selected Reviews Interesting! Some long static frame might be shorter for screening or shorts festivals. This film chronicles Mozambique’s urban character and structures that compare colonial and the present-day city. It shows long uninterrupted scenes to show the rhythms of the city. Oftentimes interviewed subjects talk about the mismatch between the past and the present that can at first be confusing for lack of context until one gets the idea.

Tuscon, Arizona Documentary exploring the potential of a community school gardens program and garden in Tuscon, Arizona to be a learning/teaching lab. Selected Reviews It’s a great story and public service. The story is compelling and the voices authentic.

Wellington, New Zealand Spanish (English Subtitles) The film shares the story and insights of the creation of a mural by the Latin American community in Wellington, Aotearoa New Zealand. Led by The Latin Collective, under the guidance of street artist/muralist Alfonso Ruiz Pajarito (Brigada Ramona Parra, Chile), this mural makes visible the presence, contribution and sense of belonging of the Latinxs in Wellington. Involving participants from over 13 Latin American countries, and in collaboration with local communities and artists, the creation of this mural opened spaces for collective reflection. It became an open gift to the city aiming to celebrate diversity, foster inclusion and counter racism. For us the film made a number of contributions: - it provides a record of the massive process we went through producing the mural, its collaborative and community flavor, and particular aesthetics - it voices and help spread the experiences, opinions and aspirations of Latin American migrants in Wellington that underpinned the motivation to do the mural - it gives a real life example of the use of street art to build community and counter racism, especially in the aftermath of the Christchurch terrorist attack against the muslim community in New Zealand, - it showcases a project that bridges generations and cultures, and the importance of, in this particular case, connecting directly with Latin American histories and aesthetics of street art to communicate issues around identity, political struggles and anti-racist discourses, - it provides a testimony for all of us involved in the project of all the hard work, fun, commitment and love we shared in this project. For us to keep those memories alive and feel proud of it. And also, to share them with new migrants and our own kids and grandkids. Selected Reviews Congratulations for the mural and to all people evolved in the project. The film has its value as journalist piece with a point of view from its director. Good dynamic footage for an interesting story. The music plays a great role.

UK Calais, France In 2016, the Jungle camp was home to an estimated 10,000 people and was largely self-built by both displaced people and volunteers working on the site, with little state or NGO intervention. Before the camp was cleared in November 2016, I had set out to explore the ways image-making practices might be symmetrised between researcher and research subject. To do this, I made and deployed the tandem bicycle with cameras and interview equipment used in the film, which could be piloted and ridden by the camp’s residents, volunteers and researchers to record an account of the lived experiences of displaced people in Calais, and the architectures that they had built. In the intervening years, the site has been turned into an ‘eco-park’, the landscape having been modified to be a home for birds, and a tourist attraction. In this setting, ‘natural’ ecology (or perhaps more accurately ‘greenwashing’) is cultivated to erase displaced people, their histories, and practices for survival. In 2019, in the camp-become-eco-park, instead of finding those that populated the roads, shops and shelters that I had encountered before, evening primrose flowers have taken root, thick scrub, a community of horses, artificially constructed sand dunes, various small ponds, boardwalks, and a bird viewing hide. These new ‘architectures’ take on a new function as part of wider bordering practice in France. The ponds flood the area to prevent people from being able to camp in the space, and the bird hide and newly built boardwalks provide the regularly patrolling CRS police with vantage points for surveilling the area. Selected Reviews Effective; uses visual language to compare past and present Nice juxtaposition between the camp before and after it was cleared. Interesting to see just how quickly nature takes over the land. Shows off the huge scale of the camp.

Looking at the representation and plight of different populations living in Zambia’s Meheba Refugee Settlement and in its mining surroundings

Norway Finnish Lapland English Subtitles Social/Cultural Geography On a road less journey, through the barren lands in Finnish Lapland the traveler can find shelter and companion to whom to share their story. The film is situated by a small wilderness hut and its surrounding landscape. Through meetings with people that roam the area in different ways we learn about the character of the place ascribed by the people who dwell in it. The wilderness affords different sometimes contradictory experiences to the different groups that use it, and is not as empty as it might seem. The huts are important meeting-places as the skiers create a symbolic community among them. In the hut, people can share experiences, stories and advice with each other. The topics of discussion concern almost exclusively the place itself, experiences one has had there, choices of routes and so on. In these social situations, images about the place are produced and reproduced. However, to be able to participate in these conversations, one must roam the mountains and get to know it by feet and by heart. In the movement along the journey, following the paths, perception occurs. Engaging in the landscape through activity creates a strong feeling of belonging. The same people return year after year, because for them the place has a special meaning. They say that they have an urge to go there, they have no choice. Both the embodied (for instance they know the routes and contours of the landscape by heart) and the symbolic (For example the ritual importance of doing this trip) aspects of the being in this environment are significant in the constitution of the place. The wilderness area is remote and desolate, still full of life. People find different ways to move on the snow, using either motors, their own strength or for instance the wind. The way they move and their purposes for being there (skiing, fishing, reindeer herding, guiding tourists) affects the way they connect to the land. Bringing the camera to the field gave me a certain role, I wasn't just a passive observant, I had a visible task, which was to film. The challenge was that I did not know the people I was filming from before. A lot of the meetings with the informants were short, as they were only passing by. It was hard to focus on both creating a relationship and trust between us and the technicalities of filming at the same time. When I was writing my master thesis the film material gave me a great recourse as I could always "return" to the landscape as well as being able to see and hear my informants again and again. Selected Reviews Portrait of an isolated place in the mountains during Wintertime with people crossing it. Different people come and go for the most various reasons, but the landscape remains the same. They project their own emotional state of mind, some very distinct from the others, but some are the same. Beautiful photography. Lovely film – beautifully shot and quietly edited. A glimpse of people’s relationship with nature, the simple need and pleasure for spending time in its enormity.