Bergamo, Italy Italiano, Bergamasco with English Subtitles The Director writes: The film set out to explore how people’s relationship to the environment and the landscape is so strong in remote and rural areas of the province of Bergamo in Italy, located in the Alpine context. These areas, usually targeted as internal and fragile, affected by a dynamism of depopulation, have been re-discovered during the pandemic by the inhabitants of the city of Bergamo and other cities located in the Milan region. In fact, people could discover unique landscapes and strongly conserved environment with the presence of a lively community profoundly connected to their resources. The pandemic has been an occasion for rethinking the future of these areas through forms of community based tourism, by rediscovering local knowledge and the use of resources for enhancing the development of sustainable forms of microbusiness oriented to agro-forestry and agro-tourism. The characters of the film are the inhabitants of the village of Bossico who descibe their sense of place, strongly related to natural and cultural heritage.

Arabic with English Subtitles Two young men enter into a bet to see if people in their neighbourhood are still kind and will give money to a homeless man. Love Letters are a series of short films telling stories of the place made by young residents of al-Khalifa neighbourhood in historic Cairo shot during 2020-22. The project is a collaboration between Megawra (Athar Lina Initiative) and filmmaker and geographer Jessica Jacobs from Queen Mary University of London and Filmmaker Vitor Hugo Costa (Metafilmes). The project used a unique place-based heritage approach to develop the original stories with the young filmmakers. The original workshop was planned to take place on location in al-khalifa in the summer of 2020 but due to Covid-19 we had to redesign it and move it online. The films were completed in June 2022.

Texas USA Madagascar Malagasy (Veso Dialect) This film focuses on the life of one woman, whose story aims to shed light on the vicious link between poverty and environmental degradation in Madagascar and beyond. After losing her father at age 13, Felicia turns to the sea as a means for sustenance, even when migration, commercial trawling, and cultural loss make small-scale fishing operations an increasingly challenging way of life. Felicia continues to harvest scarce resources not out of ignorance but out of necessity. Her life story, filled with hardships and setbacks, also reveals the resolute temperament that characterizes her and many other women in Madagascar..

Glasgow, UK Bogota and Medellin, Colombia Sonia Marzi Glasgow University: I started by by asking how displaced women settled in their respective cities, Bogota and Medellin, in Colombia wanted to explore their right to the city. However, through an action research design using participatory filming, the women became co-producers of the film and research and shifted the research topic to what was most important to them. This film reflects on their displacement histories and tells their stories with a special focus on how they shape living in the city now and the challenges of the different forms of violences they encounter in their everyday life.

English This is an ethnographic documentary co-produced with refugees and people seeking asylum during the Covid-19 pandemic. Based on video and photo diaries recorded by participants themselves, this film captures the everyday experiences of living in temporary and contingency accommodation and how this group of participants coped with housing conditions and life more generally in the context of Covid pandemic. The film was produced as part of a 14-month collaboration study exploring the impact of the Covid-19 outbreak on asylum seekers and refugees living in the UK. The film highlights how hotel-type accommodation are seen as detention-like spaces from the perspective of participants . The video diaries show how housing provision by private firms acts as a form of control and bordering, which has various negative implications for the health and wellbeing of the participants.

Khoekhoegowab - English Subtitles Same Different is a rare encounter between the Khoekhoegowab language and a still camera. The poem, written and performed by Namibian artist "Ques", together with the sounds of the bow and the forest, moves along the sun, the wind, and the spirit of the poet herself. Ques keeps us hypnotised with her spoken word while healing the deep-rooted wounds of our colonial past and present. Ques' voice is our ancestors' voice enacting pain and oppression, but also hope and wisdom. A Namibian-Colombian collaboration shot in Germany. Ques' poetry reflects on the deep-rooted wounds of our colonial past, and what is colonialism but the violation of borders? not geopolitical borders, but the borders of the other dignity.

The Lightwell listens to the sounds that intensify inside a building during the first months of COVID-19 pandemic

Khmer (Cambodian) language with English subtitles Lina is a garment worker in Cambodia. In April 2021, the country is under lockdown due to an outbreak of Covid-19. Lina is still expected to complete her shift at the factory. When her husband catches the virus, she must race to complete her production quota in record time to help her family before they are taken to a government quarantine camp. The film contrasts the experiences of UK clothing consumers and Cambodian clothing producers during the Covid-19 crisis. During the pandemic, hundred of thousands of garment workers in Cambodia were left unemployed as UK fashion brands and retailers cancelled orders with local suppliers. Workers were left hungry and saddled with mounting debts. As well as spotlighting the impacts of the disruption on Cambodian workers, The Haul considers their constrained responses to this crisis. Global stakeholders described the pandemic as a "wake up call" for the fashion industry and the ILO promised to "build back better" for more just and sustainable supply chains in the wake of Covid-19. However, the pandemic has exacerbated existing trends of informal, insecure, and intense work in the garment industry. In contrast to the lofty rhetoric of the ILO, therefore, "recovery" has been on adverse terms that have weakened workers position in hierarchies and systems of global production and power.

Ghent, Belgium English, German, Dutch While the pandemic evoked questions of housing and home in the past year, some of those who don’t have access to decent housing remained nearly unmentioned. In summer of 2020, Monica and Katharina thematized the housing conditions of newcomers in Ghent, Belgium, who are placed in "OC RENO“, in a short film. The living conditions for the 250 newcomers on an old prison boat in the northern outskirts of the city were already carried to a minimum. Yet the latest news of the very high numbers of corona-infections of the RENO inhabitants once again shows how little newcomers are taken into account as citizens.

Mumbai, India Marathi, Hindi & English The film is based on concept, field and archival research by Lalitha Kamath and Gopal Dubey from Tata Institute of Social Sciences Mumbai The film is framed as a juxtaposition, the story of two Mumbais, that are entangled in dynamic tension. It is told through the experiences of Mumbai's indigenous fishing community, the Kolis. The first is the city of the sea, that comes from living according to the rhythm of rising and falling water levels. The second is the terrestrial, propertied city, driven by the imperatives of capitalism. As fishers negotiate these wet and dry terrains, we seek to recover their living histories, knowledges and practices so that we may understand how to inhabit the city and yet embrace wetness. We base our work on the fisher's community archive – a collection in the making, inspired by two ongoing processes of fishers: estrangement and reclaiming. Seen as a community that’s subaltern and on the move, fishers have typically played a minor role in official histories. We seek to overturn this by asking: How can we create an archive that relates to the intimate and global movements mediated by the sea? That draws from customary use rights, memories, knowledges and relations with beyond-human entities (land, sea, mangroves, fish) that transgress property boundaries? That serves as an archive against erasure? The archive of estrangement draws from documents of the Turbhe Cooperative Fishing Society. It reveals the shifting position of state agencies from officially recognizing the community's claims to actively endangering these, causing estrangement from sea-based life. The archive of reclaiming takes shape as a glossary of terms that evoke community memories, knowledges and practices that emerge through involvement with their fluid landscape. Reclaiming here recalls the erased past but in new acts of futuring. These oppose state-led land reclamation projects that rely on erasing Koli modes of habitation and polluting and making property of the sea.

Plymouth, UK English Face of the Other is an essay film and a series of moving portraits shot in the coastal city of Plymouth, England. The project is a response to social and political divisions in the UK. What is often missing in fractured political debates is the face of the other. The title of the work comes from the philosophy of Emanuel Levinas. For Levinas, “the face [is] a source from which all meaning appears”. The film situates the film in the landscape of Britain’s Ocean city, and reflects on its history and its varied natural environment.

Manchester Uk English The Secret City is a 12-minute documentary about the Manchester neighbourhoods of St Michael’s Flags and Angel Meadow Park, using moving-image, spoken word and contemporary music composition to explore a relationship between new building developments and pieces of Manchester’s social history. This piece was developed in layers, later turned to acts: Act 1. High Rise: A conversation between old and new buildings. Do they feel exposed standing alone? Are they united by time and memories of what they have seen? Act 2. The ground: Pavements and gravestones, and anything related to the Earth. Reincarnated inanimacy. Objects and spaces that have been present to new and old life. A valley. Act 3. Underland: People buried below surface, inhabitants of the past, remembered through history of this place. What does it mean to have history speak on a person's behalf? How might that feel?

Yellowknife, NWT, Canada The Director writes: The film sets out to tell my story on identity and my sense of belonging and not belonging in Canada. This is based on my journey as a first-generation Canadian but also a woman of colour. I have always navigated between worlds and had to learn on my own in finding myself in spaces that have never truly fit for me. My sense of belonging first begins with self-love and that is the theme of my film. The natural environment is a big part of my life as there is no judgment and anyone is welcomed. Outdoor spaces provide navigation, healing and discovery for me.

Havana, Cuba Toronto, Canada Spanish with English Subtitles Joanna Kocsis writes: This film was my way of exploring the work of knowledge creation with the ontological and epistemological understanding of knowledge as social, created, performed and resistant. The methodological choice to use film aimed to support the development of knowledge creation activities with groups that have been historically left out of the positivist project of knowledge production. It emerged from a three-year research engagement that explored the identity work and meaning-making of a group of racially- and territorially-stigmatized young people living in Old Havana, Cuba to better the experiences of a group conventionally considered “at-risk”. The film production came near the end of my fieldwork. Before they began writing the film, the teens created their characters, building identities using details from their own lives and the lives of people around them. Some of them expressed a feeling of identification with the characters they created and others insisted their characters were modelled on others, and had little in common with their own experiences. The collective creation of characters led them to be more complex and multidimensional, as each character was created using various points of view and voices. Beyond adding depth, the use of composite stories had the further benefit of protecting the anonymity of individuals whose experiences might be sources of creative inspiration, as stories blended together multiple lives into collective narratives.

Following the process of how wastewater is treated, made into Milorganite, or returned to Lake Michigan

Maharashtra, India Edinburgh, UK Marathi, English The Directors write: The Sugarcane Industry in Maharashtra, India is a highly lucrative and profitable business. However, a large portion of this business is built upon the labour of migrants who work under highly exploitative conditions. Between the droughts that force them to migrate in search of employment and survival, and the harsh working conditions at the plantations, sugarcane cutters have found themselves in a self consuming spiral that has lasted generations. Facing neglect from the Government and the factory owners, these labourers are left to their own devices in order to survive on a day to day basis. Through this film, we aim to capture the lived experiences of the sugarcane labourers while at home during the monsoons, the only time of year they’re able to cultivate the lands they own, through conversations. At the same time, we wanted to try to understand how this cycle perpetuates through the system in place.

Idukki, Kerala, India Edinburgh, UK Malayalam, English Director writes: The narratives around climate change ask all of us to make sacrifices. But depending upon a person’s socioeconomic geographical background, the inequity in these sacrifices can be huge. Coming under ‘climate justice’, it needs more attention in order to make our climate change interventions equitable and sustainable. It was the first time the filmmakers involved were introduced to the idea of climate justice and the nuances and conflicts that run with it. It also showed us how climate change as a problem is not merely environmental but also social and political as it, like all great dangers, exacerbates underlying conflicts.

Leicestershire, UK In the context of Brexit, the UK government has offered a unique opportunity to fundamentally reform UK agricultural policy. The policy aims to reward farmers for the delivery of environmental public goods like clean air and water, biodiversity, and healthy soils. This short film tells the story of how some old techniques can be brought back to the current policy for the benefit of the environment and farming. Tenant farmer Fay Johnson shares the way she has started implementing regenerative farming practices that her grandparents were using. The director writes: This short film is part of a production that includes more visual outcomes. This one in particular has helped us to understand how this farmers are bringing back old practices to the present. By using photographic archive, I entered into a dialogue with Fay (the character in the film) about how to best represent their practices from the past.

Palestine-Israel Newcastle, UK English, Arabic A daughter returns to her father's village in Palestine, which was destroyed in 1948. She journeys through unfamiliar landscapes and is confronted with the reality of her own exile. The Director writes: This is an experimental short film telling the story of one Palestinian's return to her father's village destroyed during the events of 1948. The film examines themes of exile, spatial manipulations, longing, occupation and ultimately, return. There is little dialogue. The footage is textured with a poem I wrote and an electronic score. I flit indistinctly into shots throughout the film in various locations - at the Wall in Bethlehem, in a destroyed house in the ruins of the village of Lifta - but only at the end do I come into focus, collecting a cup of earth and looking straight at the camera: an invitation to reckon with the loss of a homeland. In many ways, the plot happened over seventy years ago, the purpose of this film is bear witness to what has been left behind.

A test interview for a project that set out to explore Doreen Massey's life as an analogue activist-scholar The ‘message’ intended was not about Doreen Massey’s life but an argument and demonstration of the significance of geographical thought in some crucial real-world situations. Doreen selected the following ‘moments.’ 1. 1980s – The birth of neoliberalism – the Greater London Council and the miners’ strike. 2. 1990s – The evolution of a feminist economic strategy and nation building (regional design of a constitution) – South Africa in 1993, two years after the release of Nelson Mandela. 3. 2000s – New spatialities and the geography of democracy – Latin America

Poplar, London, UK "50 years ago today they landed on the moon... and I'm still waiting for that future". Jimmy's Archive is a collaborative short film by anthropologist Robert Deakin and James ('Jimmy') Watters – a lifelong resident of Poplar, a working-class neighbourhood in the former docklands of east London. Rebuilt according to a modernist masterplan after being heavily bombed in World War Two, today Poplar is undergoing another round of intensive redevelopment in the form of ‘urban regeneration’. Against this backdrop, Jimmy delves into a cupboard of carefully kept artefacts to tell stories of class, place, music and (still) waiting for the future.

Philadelphia, USA English It’s another weekday for the crew at Bennett Compost. Hundreds of paying customers have left buckets-full of food scraps and other organic waste on their front curb across Philadelphia city. The crew set out in trucks to gather these heaps of organic waste materials and then there’s the patient work of processing the waste into nutrient rich compost. Can this ecologically beneficial work be done in the absence of robust city infrastructures and clear codes? Can it be done while paying workers a decent wage and providing them essential benefits? Can all this be done while making a profit to keep the enterprise sustainable? This is the story of The Composters, a story of an enterprise that strives to achieve these aims.

Over 50 countries are actively seeking to expand their territories via the ocean through technoscience and international law