Assembled from the 16mm bin cuts of a long lost 1978 BBC documentary about the only regulated sail-powered fishery in the UK

Central Victoria Australia, Europe and US Is money responsible for current socio-economic inequities and ecological unsustainability? How might a postcapitalist imaginary address and resolve the socio-economic and political inequities and ecological unsustainabilities of capitalist relations of production based, as they are, on monetary calculations and relations? What might a postcapitalist world without money feel and look like? How might it operate? The film draws on scholarly research to give life to a degrowth, eco-socialist and nonmarket socialist community mode of production of the future. "Film making is generally an expensive and highly technical process, with many (mainly male) collaborators using lots of material and energy in production, marketing and distribution. In line with the content of the film, I chose as simple, easy, at hand and inexpensive ways of proceeding. The whole project except for the soundtrack was made by talented women living within 15 km of where I live. I wanted the film to have a creative flair and be constructive. It needed to be concise and then made as freely available as possible. My findings from screenings in conferences through to small gatherings, indicates that audio-visual communication is a relatively successful way to introduce complicated topics to a range of people and to enable common ground on which to engage with them. At the same time, the simplicity and summary nature of the project has led to certain misconceptions about the sophistications of a community mode of production. Where there is common space for viewers to raise queries with me they can be addressed. In general, employing my film making skills as a form of communication has proved a successful way to convey my ideas and, screened in forums, it has formed common ground on which to discuss really different futures." The filmmakers acknowledge the Dja Dja Wurrung people as the Traditional Owners of the land on which this short film was produced.

London, UK Spiritual Flavours interweaves biographical narratives and spiritual accounts from Betty, Aziz and Ossie (who belong to a Catholic church, a mosque and a liberal synagogue, respectively) with the experiences of cooking in their homes in Ealing, London. The recipes thread narratives of past, present and future aspirations, spirituality and the everyday. Their commonalities and differences are expressed through visual and sonic synchronies and asynchronies. Also, by overlapping soundscapes of cooking and praying, the film develops a rhythmic and affective experience of the relationship between food and religious practices. At the end, Betty, Aziz and Ossie meet, cook and eat together. "This film is part of my interdisciplinary doctoral research "Spiritual Flavours: Reflections on using creative practice to explore food and religion in a multi-faith suburb" (2022). This investigates the relationship between food and religious material practices of several faith communities in Ealing, a suburb in West London, selected to represent different faith and migration traditions. These include a Synagogue, a Sri Lankan Hindu Temple, a mosque, a Sikh Gurdwara, an Anglican church, a Roman Catholic church and an ethnically diverse Pentecostal church. The research developed an arts project, Spiritual Flavours, which comprises a photographic series, a film (5' and 28'), and an artist cookbook. Whilst the photographic series uses a formal approach, devoid of people, to explore the spatial arrangements of commensality within religious buildings, the cookbook and the film focus on participatory engagement and biographical narratives. These bring together a diverse range of intimate experiences of food and spirituality across both domestic and worship spaces, and expose the nuanced ways in which faith, age, gender, identity, migration, community and home intersect. The film also produces a rhythmic and multi-sensory experience through the use of the split-screen technique and the creative mixing of sounds of cooking and prayer." More information available at www.spiritualflavours.com.

Skopje, North Maceodnia Exploring the synergy between artificial intelligence, the internet, and urban metamorphosis, this project intricately unravels the transformation of a city. It examines the complex dynamics at play within urbanism, architecture, and nationalist revitalization, revealing the role of social media and AI in deciphering how the internet perceives the controversial Skopje 2014 project. This film aims to unravel the complex dynamics surrounding Skopje's controversial Skopje 2014 project through an immersive multimedia experience. Blending urban research, personal narratives, and inventive digital storytelling techniques, the film explores how this government-led urban renewal initiative promoted a homogenised Macedonian-Slavic-Orthodox identity by radically transforming the cityscape. It investigates Skopje as a palimpsest, a mixed-ethnic city where layers of contested history, culture, and belonging have been repeatedly inscribed and erased. Moving beyond the architectural transformations, the film illuminates the broader existential struggle faced by cities striving to build a unified identity against the centrifugal forces of globalisation and competing local allegiances. Skopje's erasure of its Yugoslav past also surfaces questions of constructed heritage and invented tradition in the process of nation building. Through this, it aims to explore how the internet remembers Skopje, but most importantly, how AI understands it. "This film extensively utilises AI systems like ChatGPT to conduct research and craft the narrative structure. ChatGPT serves as a creative interlocutor, helping formulate critical questions about Skopje 2014's impacts that shape the film's direction. Generative image tools like Midjourney are used to visualise different conceptualisations of the city. The AI generates photorealistic impressions of Skopje based on textual prompts, encapsulating imagined realities. These AI-created scenes add speculative layers to the documentary's exploration of the city's complex identity. By blending AI-assisted research, generative media, data visualisation, and cinematic storytelling, the film provides multidimensional perspectives on Skopje 2014. The AI elements enhance the narrative while retaining a humanistic approach to the subject matter. Through extensive on-the-ground research and innovative digital storytelling techniques, this project illuminated the complex dynamics surrounding Skopje 2014. The film's immersive visualisations and AI-powered narrative revealed how the government-dictated remaking of Skopje promoted a narrow Macedonian-Slavic heritage while erasing the city's multiethnic fabric and Yugoslav past. The film's use of social media discourse also unearthed more mainstream narratives. Ultimately, the project provided a polyvocal, multilayered record of this controversial urban planning initiative through an immersive experience. The creative use of emerging technologies fundamentally expanded the possibilities of the documentary form. Tools like geospatial analysis, AI, and interactive storytelling enabled a more participatory, nonlinear mode of nonfiction filmmaking. The ability to incorporate speculative and counterfactual dimensions opened up new avenues for exploring the past and future ramifications of Skopje 2014. However, crafting a cohesive narrative from these multifaceted streams of data remained an ongoing challenge. The film required finding the right balance between technological innovation and human storytelling. Still, it demonstrated how computational documentary can reveal new dimensions of complex urban issues and create more affecting, insightful experiences for audiences."

Shropshire, England and Powys, Wales On the border of England and Wales, two ancient pathways cross. Their stories emerge through poetry and song. In this poetry film, the Kerry Ridgeway takes on the character of a lovelorn maiden. The Offa's Dyke Path is explored as a site of repeated movement of people and livestock over time, carving out ditches, hollows and histories. The film plays upon conventions of hauntology within folk music, poetry and folk horror cinema. "The film set out to explore poetry film as a medium for engaging with place. It considers how taking time to pause in a place can affect our relationship to it, and deepen our sense of connection. I found that taking the time to interact closely with a specific location enabled me to forge deeper connections with that place, and to respond creatively in a way that sought connections between the traces of the past and the detail of the present. I found that following instinct and allowing the process to develop organically resulted in a piece that was led by the place interaction, rather than being dictated by preconceived ideas. And that the process of pulling together the audiovisuals with poetic ideas in the editing suite generated new creative ideas and a lasting connection to the place encountered." This poetry film forms part of a collection entitled 'PAUSE', which examines the ways in which we connect to place, and how taking time to pause can impact on those connections. Created as part of practice-led PhD at Keele University in partnership with Writing West Midlands, with additional supervision from staff at the Centre for Place Writing at Manchester Metropolitan University. This research is supported by the North West Consortium Doctoral Training Partnership, part of the Arts and Humanities Research Council.

Tuscon, Arizona, USA It is a surreal scene in the Sonoran Desert: rows and rows of old military aircraft, baking in heat and dust. Welcome to the “Boneyard”, one of the largest collections of old aircraft left over from decades of U.S. airpower and warfare around the world. This large site is located inside the Davis-Monthan Air Force Base, an active base on the outskirts of Tucson, Arizona (USA), and is where old aircraft go when their time patrolling the skies of the world comes to an end. Over 4,000 aircraft are housed there, making it one of the largest facilities of its kind. The fieldwork film is part of a project that looks at violence of the military meets everyday civilian life directly, making them intriguing laboratories for understanding everyday militarism. It builds on military geographies and borrows Rachel Woodward’s (2005) definition of a “critical military geography… which seeks to understand how life in the civilian sphere is shaped by military structures and imperatives” (as summarised by Bernazzoli and Flint 2009, p. 393). "It may seem a stretch to be suggesting that these military museums cause slow violence, which is typically associated with the real embodied suffering of those impacted by environmental racism and other infrastructural conditions. Because of the specific nature of this military infrastructure, one that straddles military and civilian geographies, given the auto-ethnographic work and observations at large, we are compelled to make a linkage between slow violence and epistemic violence, as the later has been elaborated on in the context of museum politics (Tolia-Kelly 2019)This particular form of epistemic violence resembles slow violence, then, we suggest as real harms are distributed as a result. In an infrastructural scenario like the military museum, we must consider these as gaining force from each other."