Following a childfree woman who, through endurance cycling, discovers her own “biological” clock.

Documenting the bodily and psychic impact of living in UK temporary accommodation

How does recreational use shape pro-environmental behavioural change in the North Yorkshire Moors?

Following a childfree woman who, through endurance cycling, makes her own “biological” clock.

Set in Dakar, Senegal, a tracing of the aspirations and dilemmas of young people caught between staying and seeking new horizons

Following a courier on their night-time newspaper delivery in Vienna, Austria

Nepal Nepali with English subtitles [Nepali title]: “Didilai didiko sandesh” The ‘Didi to didi’ project is a film written for domestic workers by domestic workers in Nepal. The film explores the hidden issues and constraints domestic workers face daily, yet are unable to validate with a community of workers due to the relative isolation of their working conditions. This film ‘acts’ upon the domestic work industry by breaking down information silos which keep women in the dark on the norms and conditions that pervade their own work. Through the questions and advice format, the film ultimately inspires and encourages domestic workers in Nepal and around the world on themes of agency, economic equality and dignity of work. "The film explores the relational and material processes shaping domestic work through the experiences of six domestic workers in a city of Nepal. It highlights the separation of domestic workers from one another, and the information gaps which can marginalize women from understanding and bargaining for better conditions in their work. The film gives a window into the experience of domestic work by sharing a hypothetical conversation between domestic workers, and the questions or advice they have for one another. Questions which women have foregrounded in the film include how other domestic workers relate to time pressure (and a lack of control over their own time), the relationship between employers and employees (including by what names employers call domestic workers), the coping mechanisms women turn to due to their low salaries, as well as how families navigate child workers. The advice section is a call, from one domestic worker to another, to claim more overt labor agency despite the challenges and unfreedoms which often characterize the workplace for workers. Women’s advice alludes to the many constraints and exploitative conditions they find themselves in, but shows the ways they cope with or challenge the current status quo. My research explores the domestic work industry in Hetauda, Nepal, examining the institutions, inequalities and power dynamics which have enabled this industry to emerge and continue in recent years. The findings of the research concentrate around women’s labor market decisions into and through domestic work, characterizing the relationship and agencies of employers and employees, and developing theory which understands the labor market processes of domestic work which are co-produced through socially reproductive labor and ‘productive’ labor. During this broader project, it became clear that women desired to speak with other domestic workers about their experiences, but didn’t have an outlet to do so. The film was developed to contribute to this need, and thus, focuses on the key pieces of information domestic workers choose to share, rather than communicating the broader research findings. In this process, academic, practitioner and policy-making audiences have a window into the key pieces of information domestic workers may be missing, as well as the key obstacles they are currently overcoming, or have learned to overcome through their work. Film making added to my project by allowing my research to go beyond my own intellectual interests, and respond to a real need for connection and collaboration my research participants were expressing. Challenges included finding the time in women’s extremely busy work schedules to shoot the film, as well as ensuring consent was ethically and clearly obtained not only from domestic workers but also from their employers, given that we largely filmed in women’s workplaces. Future challenges will include getting the film in front of as many domestic workers as possible through social media, as the film’s key objective is to reach and encourage otherwise difficult to find domestic workers."

An investigation into the impact of reintroducing cheetahs to India's Kuno National Park on the neighbouring villagers

Melbourne Australia Timor-Leste In Timor-Leste spring water is central to people’s connections to each other and the ancestral spirit world. Underground flows are the carriers of spirits and the providers of life and well-being to the living. This film follows Simião, a university student, who had been very ill and had almost died when something had attacked him and taken his spirit. With the water’s help, the family had recovered it, and his spirit had been restored to his body. Through ceremony the debt to the ancestral spirits of these healing waters is repaid and connections to more distant coastal springs are honored. As water resources diminish with increasing population and economic pressures as well as global climate change, Restoring the Spirit addresses a subject of ever increasing local and global importance. In many areas water is not only a vital resource but is also endowed with an agency and power that connects people, spirit beings, place and space. It is also understood as central to people's wellbeing and healing processes. As one outcome of over two decades of ethnographic research across the island of Timor, this film provides an intimate more-than-human account of the complex social and ecological specificities of water-focused societies spread across the one of the world’s newest nations, Timor-Leste. The film explores contemporary challenges to the ancient uses, beliefs and rituals associated with water and wellbeing and identifies the ritual ecological practices through which the use and sharing of water continues to occur and guide socio-ecological systems on the island.

Portugal French and Portuguese. English subtitles This coming of age film follows Filipe and Hugo while they spend the summer in Trás-os-Montes, Portugal. From childhood memories, lazy summers filled with boredom, to their aspirations of a better life, the film explores the ambiguous relationship these youngsters foster with rural Portugal, and their way they navigate across various identities, languages and terrains. Then Director writes: Film-making was a central component of the project, since the research design. It enabled to create a long term relation with the participants, and to access their memories and imaginations. But also, in a project focusing on the making of places in peripheries, it enabled me to highlight particular landscapes and rural areas' atmospheres and architectures. Portugal is a country of emigration: one in five Portuguese live abroad. In the last decades, the regions bordering Spain are the most affected by these departures In the northeastern region of Trás-os-Montes, a third of the population has left since the 1960s. This is where I met with two youngsters, sons and grandsons of emigrants: Hugo and Filipe. Hugo lives close to Paris and spends every summer at his grandparents’ in Trás-os-Montes. There he reconnects to his roots and the slow pace of the village. Filipe did the same: for years, he spent every summer at his grandma’s before his family eventually moved back to Portugal, a few kilometres from his grandma’s home. But what awaited him once he graduated from the local college? As many before him, he emigrated. When we meet, during the summer 2019, he works in London. In February 2020, the world enters a pandemic Filipe is laid off, he packs and comes back to his village in Portugal. Filipe dreams of new horizons, and the answer lays in front of him of going back to where he was born, Paris. While Hugo, in Paris, dreams of living and working in Portugal but, not in the village, not in Trás-os-Montes This is a film about a region which performs as a shrine, a physical container of memories of happy childhoods and simpler times, that one visits once a year and puts a small bouquet of flowers at its feet. Some stay close-by, and live out of its pilgrims, but very few are able to experience it as a real and viable home.