This film sets out to explore how two very different relatives encountered one community with their respective residential triumph and trials in mind. How do two different women find meaning in home in one gentrifying Miami community? I used my training in history, cinema and ethnography to push my thinking on a project that began with 37 ethnographic interviews. The initial outcome of these interviews was an article published in the Journal of Urban History.

1 in 25 empty properties in England could be used to provide much-needed homes. One of a series of five animations from Anglia Ruskin University’s Illustration and Animation students highlighting this issue

Animation from students at Anglia Ruskin asking why the UK has so many empty homes in the midst of a housing crisis

1 in 25 empty properties in England could be used to provide much-needed homes

Stories of the journeys, interactions, and influences of Cheshire salt over a history of extraction that has lasted over two thousand years, and continues today

UK Chatterley Whitfield, Stoke-on-Trent This dance-poetry-film comes out of an Arts and Humanities Research Council project on Quebec's Eastern Townships and l'Estrie. It is a response to an audio-walk set in Magog, a lakeside town, tourist destination, and site of a former textiles factory - a trace of the region's industrial past that is little known outside it. The walk considers literature, geography, and history, and includes creative prompts for participants to try if they so wish. Choreographer, Clare Reynolds, responded to the walk with this solo danced by Patsy Browne-Hope, which brings together Magog's deindustrialised landscapes with Reynold's home city of Stoke-on-Trent. 'Heartlands: Earth & Bones' is part of a literary geographies and participatory geohumanities project, entitled 'Heartlands/Pays du coeur: Geohumanities and Quebec's “regional” fiction’. Ceri Morgan (PI) drew on desk-based research on C21 fiction and creative nonfiction (in English and French) set in Quebec's Eastern Townships and l'Estrie to script an audio-walk (in English, also translated into French). Located in Magog, the route of the lakeside walk is partly symbolic, in that whilst elements are site-responsive, others make reference to elsewhere in the Townships/l'Estrie. The walk offers an insight into the region's literature, geography, and history, and includes creative prompts. Prior to publication, Morgan trialled the audio-walk with other artists and community members, making modifications in response to feedback. Reynolds participated in the second trial, drawing on it to choreograph the dance solo performed in the film. Paul Rogerson also participated in the trial, going on to compose the film's music. Morgan wrote the poem used in the film's soundtrack following a participatory activity involving undertaking the walk around a lake on Keele campus (in psychogeographic fashion). She performed a draft version of 'Wrinkled Skin' at an informal public reading event to mark the close of the project. Exploring themes of bodily responses to place/s, site-responsive creative practices, interconnections between places, interrelationships between the human and other-than-human, the expansion of literary studies.

Crawling across a field with a macro lens, we are flung into more-than-human encounters and other ways of seeing

A young migrant worker and her left-behind family struggle with debt and water conflicts caused by contract farming schemes in the Mekong Delta.

With this documentary, we sought to tell a new version of an old story: Chicago's Plan for Transformation, the factors that led to it, and the effects on the city's low-income communities of color. With almost 25 years of hindsight, results of the Plan are decidedly mixed, with wide swaths of land that were slated for redevelopment now sitting vacant, while the city experiences a widespread housing crisis. Additionally, in line with other reporting from the Invisible Institute, we wanted to highlight the ways in which state abandonment of public housing communities in the late 90s gave way to police predation as public housing was demolished in the early 2000s. To watch the film contact the filmmaker

Australia Timor-Leste Tetun/Makasae with English subtitles In Timor-Leste’s Matebian mountain range, farmers participating in the Baguia region’s Ho Musan Ida carbon forestry program grow trees to sell carbon credits to the international market. This reforestation initiative is locally founded and controlled. It is built upon lisan, the deep social relationships people have with each other, their environment and their ancestors.

How do we ensure we have inclusive disaster planning in the community? We meet people with disabilites (PWDs) from Barangay Pansol, Bagong Ilog and Ugong; Metro Manila, as they navigate their urban spaces.

Spanish with English Subtitles UK (Exeter) Peru Mientras todo iba pasando (While it was all happening) is a short documentary film that follows a young Peruvian woman as she recounts her experiences of supporting friends to access abortions. In Peru, abortion is illegal in almost every single circumstance and so this film seeks to explore the experiences of navigating clandestinity and trying to create safety and care in a context that actively criminalizes abortion. The film explores the ethics of what can and cannot be said and purposefully avoids telling a simple story of abortion access. The film set out to explore geographies of abortion care in a context than criminalizes it. This involved documenting the stories of people who have accompanied abortions, showcasing how their traditionally overlooked role as ‘acompañantes’ [accompaniers] is pivotal in providing care and reducing damage for people who undergo abortion procedures. By following these stories, the film also explores clandestinity as a space that simultaneously endangers people who seek abortions and allows for the emergence of infrastructures of care. As the project progressed, the team grappled with the ethical implications of making these hidden experiences public through the documentary. This led to an exploration of the ethics of making a documentary about activities on the fringes of legality and the accompanying silenced stories. The project had three aims: 1.    To document the stories of people who have accompanied abortions in the context of criminalization and stigma in Peru 2.    To film these stories and produce a documentary film 3.    To share the documentary as a resource to raise awareness of abortion care in Peru, and to contribute to the elimination of stigma

Nepali with English subtitles UK (Northumbria) Nepal The film provides a situated account of the realities of living alongside landslides in Nepal's Middle Hills. In doing so, it provides an alternative perspective to the hazard and risk maps conventionally produced to inform decision making in rural Nepal.

A stop-motion animation about the transformation of the production and commodification of Orientalism from 19th century paintings to tourism photography. The 19th century Art world presented a romanticized and exoticized view of North Africa, creating a marketable fantasy for Western audiences. This narrative laid the groundwork for modern tourism photography, which perpetuates similar themes through the lens of social media. By comparing the two mediums, the film examines how tourism photography continues to commodify and aestheticize North African cultures, reducing them to consumable images for global audiences. The shift to social media amplifies this effect, rapidly disseminating these images and reinforcing stereotypical portrayals. The film seeks to highlight the persistent and evolving nature of Orientalism, revealing how modern technology and tourism sustain and transform colonial narratives into contemporary forms of cultural and economic exploitation.

A film made during 2023 commissioned by Theatre Absolute for their series Project:Public. Rooted in a set of provocations exploring the internal and external in regards to the city and the artistic self. The film uses lens-based and conversational tools for thinking through ideas, paying attention to the human instinct to be in the landscape, seeing life unfold and witnessing with authenticity and openness the city’s surprises, discomforts, and joys. A pair of walking podcasts act as the central journeys, carried out between myself and artistic directors Julia Negus and Chris O’Connell, eventually accumulating in a super 8 film. The film responds to a changing political and economic climate within the urban sphere - the appetite for regeneration and the unknowns which fall onto the cultural sector because of it.

France (no dialogue) Three shores is the portrait of an imaginary river. By crossing it, from east to west, or by making a detour to the south, from red to green, from the undergrowth to the city, to its industrial zone: the film attempts to map the functioning and organization of our society through the time of flowing water. "Each shot is filmed on foot to the limit of its narration, to the exhaustion of the image. This bias interests me to work on the entrances and exits of the field, the micro-events which usually remain invisible. I like to show seeing the landscape while thinking. In any case, this is the feeling that duration can make the viewer experience, when the different relationships and transformations that exist within a landscape are highlighted. And I believe this is the great strength of digital technology, the beauty of relationships. I don't make films to draw conclusions, but on the contrary, to accept things, to listen. Because who seeks finds, as Ackerman said, and finds too well, close to his cliché. With this film, I hope that each viewer will be able to form their own idea of what makes up the life of a river, and of this land use planning."

UK Norway, Austria, Chile A ‘spectral index’ is a mathematical image calculation that renders its subject in false colour. In geological prospecting it is used to identify mineral deposits: a technique of mapping terrain for monetary gain. Combining satellite timelapses with infrared drone footage of lithium prospecting sites, and microscope imagery of damaged camera parts, the film considers how this spectral gaze frames our relationship with landscape, both presuming ownership and assuming its future purpose. Mapping has always been a means of circumscribing property, but in the technics of spectral prospecting, the calculation of chromatic values connects directly with a calculation of financial value. The film was developed following a yearlong collaboration with the Horizon EU research project GREENPEG, who were prospecting for lithium-bearing pegmatites within Europe. During this period, I travelled with the consortium's geophysicists to Norway, Ireland and Austria documenting their work and discussing the techniques they used. In my own studio meanwhile I produced satellite timelapses of the landscapes surrounding copper and lithium mines in Northern Chile, and shot microscope footage of damaged camera sensors. While the time spent with GREENPEG generated a lot of footage, very little of it is used in the final film. During the research process it became apparent to me that I was both highly critical of many of the assumptions that are baked into energy transition, and that my interest was in the planetary scale of the problem. Making a documentary style film about a single scientific project would have failed to address this scale, and unjustly targeted the critique at scientists whose motivations are fair. Spectral Index therefore focuses on the systemic aspects of the imaging techniques used, and the profitability calculation that they enable.

Italy Italian English Subtitles This film delves into the diverse spaces of the town of Ispra and its surroundings, uncovering private and collective memories through experimental cartography and multimedia pieces. Through audio and images, it shows the unique stories and sounds embedded within the urban landscape, fostering reflection and dialogue. By the storytelling methodology offers a transversal proposal that highlights the complexity nature of urban environments. Presents Ispra as a dynamic space intertwined with history, innovation, and diverse narratives, inviting viewers to engage with its layered temporalities and collective memories.

USA Minnesota This Land looks at the complexity of BIPOC land access in Minnesota.

Arizona USA English French In Southern Arizona, it is not unusual to see rivers that have dried up. Some only flow in specific sections or at certain times of the year. They are known as intermittent rivers. At the French Centre National de la Recherche Scientifique (CNRS) iGlobes laboratory, located within the University of Arizona, researchers study these precarious rivers in the city of Tucson, and in the watershed of Las Cienegas in Southern Arizona.

Taiwanese UK/Taiwan Jiugang Island: Unfixed (舊港島:流動的) is a short experimental film exploring the uncertainties faced by a small island community in Taiwan. The film interweaves a reading of a poem by Lin Zhanmei (1821–1868) with 3D scans from the island, offering a glimpse into its everyday life and culture. Jiugang is an island confronting both political and ecological precarity. Despite these overlapping instabilities, a community continues to call the island home. The film Jiugang Island: Unfixed 舊港島:流動的 explores the tension between a location that is both unfixed and mobile under environmental and political forces, yet remains a grounded centre for histories and memories. This resonant interplay is portrayed through a landscape humming with the words and poetry of local residents, both past and present.

Obscura sets out to explore our entanglement with the seafloor by using seafloor sound and the Javanese traditional instrument Gamelan, mediating our seafloor and human relations. The film indicates how our global mineral production and electronic device consumption has driven more seafloor pollutions. Sound occupies private and public spaces. However, there is a sound we rarely hear in everyday life: seafloor sound. This underwater sound is situated in deep spaces. Thinking with the seafloor sound matters because the seafloor sound is a primary indicator used to find tin ores, beneath the seabed. Tin ores are a critical metal for electronic devices and automobile manufacturers, which means the sound of the seafloor is the bedrock of our modern infrastructure. In this way, this sonic wave we hear mediates our unexpected ecological relation with a distant yet intimate place, the ocean-floor.

In Huelva, Spain, half of all agricultural workers who pick berries are migrants from Eastern Europe, Africa and Latin America