This film is an ethnography that shows a journey of a young migrant to find one's identity. Throughout various struggles of societal expectations and norms of the mainstream culture, reflected as "You" voices in the film, the protagonists encounters a breakthrough, and therefore becomes to fully accept and love oneself holistically. Director Soo Kyung Min explains: 'My film aimed to capture the hidden voices of immigrants who are standing amongst the intersection of 'to be or not to be a Canadian.' Despite of Canada's public image as a nation that promotes multiculturalism and inclusion of diversity, numerous individuals who do not belong to the mainstream culture undergo identity crisis as they are expected to abide by societal norms, behaviours, and beliefs, while upholding family values from the culture of origin. Identity crisis is often not captured in the media and I wanted to explore ways to represent such kind of experiences in order to educate the larger public, and also to send a message of empowerment to various groups of cultural minorities.'

English with Telugu Philadelphia (USA) and Hyderabad (Indivar) In this film essay (a visual rumination), I set out to explore the implications of living in the USA and carrying out fieldwork in another city. I synchronized audio and still images from Hyderabad, with video montage of my everyday life and surroundings in Philadelphia to draw visual and sensory parallels.

An African American woman lives in a women's residence in a posh New York City neighborhood. Every resident in her building had access to the last private park in Manhattan, which was across the street. She was never racially profiled because the average onlooker likely thought she was a housekeeper, nanny or caregiver. She discovered a tragic and ironic freedom in living like this. The structure is now a fancy condo. I mixed archival photographs and raw footage captured with my smartphone in order to provoke memory of a particular place that poses tensions with other places when I have found myself the "other." As a woman of color, I have discovered being easily narrated and/or the only one, or one of a few who look like you, lessens the threat you pose to the dominant culture. Further Reading: Sharony Green, “When I First Wore Fish Leather, Or Black Girl in Iceland,” Pan African Spaces: Essays on Black Transnationalism, Msia K. Clark, Phiwokuhle W. Mnyandu, and Loy Azalia, eds. (Rowman & Littlefield, 2019)

Italian and Chinese Middle LandsFavourite Sara's homework for summer holidays is to grow and take care of a little tomato seedling. But her family lives in a flat, so she will plant it in a small vegetable garden that her grandparents raised in an abandoned and hidden land between town and countryside. The idea of the film is the tip of the iceberg of an etnographic and visual research led in the last years. It is the output of a series of traces, experiences, sensations, listened and imagined stories that take place in the urban-sprawled area of Veneto region of Italy. The research intends to pay attention to the spatial and relational dynamics that affect the margins, understood as interstitial spaces, in this case segments of the "third landscape", spaces that they are usually not considered as identifying and invested with meaning, often invisible places. Sometimes, however, it seems precisely the suspended, hybrid and indecisive status of these spaces to welcome - and in a certain sense reflect - liminal situations, becoming a sort of laboratory and alternative space for relationships: some of these spaces are "adopted" and by individuals or groups are grafted onto them, which activate processes of re-signification, re-appropriation, re-qualification, tracing some points of a new one phenomenology of care. The short film aims to tell one of this experience and how it relates to the surrounding context. - The Chinese female workforce responds perfectly to the logic of industrial production of modern mushroom farms. In particular, the qualities that are appreciated by employers are those of dexterity, precision, speed, resistance to effort, large availability to work and flexibility. Furthermore, “they are not very unionized”. It can be said that the demand for Chinese labor is deeply embedded with the characteristics of the food industry and scale-economies: it constitutes a relatively low-cost, easily replaceable, non-unionized and "silent" labor force, which it allows high and constant production levels, which in turn allow to reduce consumer prices. Shooting a short film allowed me to speak almost freely about these delicate issues. It was a great challenge because both the cast and the crew were Italian-Chinese, in order to live a multicultural and exchange experience. It also was not so easy to find a mushroom farm who allowed us to film.

Bearing follows the frustrations, heartache and joy of everyday motherhood through observational vignettes of the filmmaker’s life as a new mum over the first five years of her daughter's life. From the Director: The research set out to understand the experience of early motherhood in relation to place using sensory film and photography. As a work of autoethnography I set out to document sensory experiences of early motherhood in relation to the places in which they were experienced. The focus of this documentation was an exploration of mental wellbeing, breastfeeding, mobility and identity; and the interrelation of these themes with place. In the film component of the research I wanted to focus on and unpack the public/private binary and draw attention to the activities involved in crossing the threshold to go from home, to public space or outdoors with a child. I also intended to document the comparative freedom of movement I have as an agent without my child with me, and highlight the ways in which the city and public facilities are inhospitable to small children and those caring for them. The research sought to use sensory storytelling to observe everyday mothering activity highlighting the tensions of living life in one’s maternal identity in relation to other non-maternal identities and activities. The film intended to visualise how these identities are closely associated with place. Building on the research of feminist geographers such as Kate Boyer which use more conventional qualitative methods, my film intended to enrich this existing critical discourse on motherhood and place by using film and visual methods and an autoethnographic approach.

English, Te Reo Maori Aotearoa New Zealand Rapid urbanization, intensifying natural hazards, glacial retreat, exponential tourism growth, and expanding dairy farms are having an unassailable effect on Aotearoa New Zealand’s (NZ) natural and cultural landscapes. The Spatial Awareness Project short film sets out to explore and challenge New Zealands's land use classifications and the values that underpin them. As both an educational resource and a community discussion prompt, the film offers questions - rather than answers - to environmental problems and the ways in which we might solve them. The Director: The Spatial Awareness Project short film set out to visually represent the main land use categories in Aotearoa New Zealand and question the values that underpin this classification system. Filmed at over thirty locations across the country, the film showcases a variety of examples of each land use category, incorporating private, iwi (tribal), and publicly administered land and water. In the beginning, our goal was to showcase different land use types and the stories that go along with them (through a complimentary podcast series) to students who had rarely traveled outside their hometowns. We hoped that by bringing these places, stories and questions into the classroom we might create space for discussions that could bridge the disconnects between our students: generational, rural/urban, farmer/climate activist, etc. Yet, the film's narrative is ultimately informed by those podcast interviews, the team's own experiences and academic research, and my conversations with the landowners at each filming location. Over time, it became less about pointing out 'bad' land use types or highlighting a particular alternative to the land use classification system and more about raising awareness of those disconnects ... about sparking conversations in the broader public sphere that might lead to new collaborative solutions.

Germany Supporting local transformations with the Grandhotel Cosmopolis: cultural politics, care and collaboration beyond the pandemic The film is an emotional, visual and narrative dimension of a collective learning process of a cultural institution that took place in the pandemic. The directors say: We aimed to interpretate provisional findings of an activist-research project that took place at a cultural institution in Augsburg (Germany) during the pandemic. Symbolised as “Grandhotel Cosmopolis Transformation Process” the project relates to the current crisis of culture production, raising questions on purpose, strategy and participants for the so often claimed need for cultural change towards more just, sustainable and fair urban life. Based on several municipalist engagements, it assembles in a post-structural interpretation what was learned on enabling and limiting conditions for the co-creation of collective actions towards urban transformation. Dwelling on self-organisation, collective reflection and re-signification, the architects for transformation experiment with practices of co-production. Understood as prefigurative practices they might serve as suggestions for urban planning in Augsburg and more specifically they intent to inform the following collective re-design of the 2600qm building that cultural institution wants to maintain as real world lab. When this film narrates the phase of deliberative orientation about this institutional re-design, a second film will accompany the implementation of hopefully co-designed modifications. The film itself was produced in collaboration of people who participated in and made sense in different ways of the “Grandhotel Cosmopolis Transformation Process”, but directed by the activist-researcher herself. The aesthetic form reflects its discontinuities, envisioned fears and hopes and ambiguities that belong to this collective learning in support of urban transformation beyond the pandemic.

Guarani, Spanish Filmed in Paraguay Griffith University, Brisbane Australia 70 mins The filmmakers say: Yuyos is an audio-visual ethnographic project lived together with the peasant family Franco Gauto, in Colonia Luz Bella, rural Paraguay. Yuyos are plants. Trees, shrubs, herbs that can be medicinal. They are wild or cultivated. There are yuyos that can be toxic and other that are beneficial for health. The film documents the family’s ethnobotanical knowledge in relation to their daily life. By revealing the cultural importance attributed to medicinal plants, the protagonists enlighten their idea of agroecology as a way to face current ecological issues and crises. Colonia Luz Bella’s community is socio-environmentally at stake due to continuous deforestation to make room for industrial plantations and pastures. These not only threaten biodiversity—directly influencing the access to yuyos—, they also determine a notable cultural loss. Born to recover and value the natural medicine’s heritage of one family dedicated to agroecology, the ethnographic film aims to speaks for a whole community in cohabitation with deforestation. In a context of familiar sharing, eased by the social beverage of tereré, the yuyos become narrative agents of stories of commitment and eco-resistance. Our idea was to recollect audio-visually ethnobotanical and ethnopharmacological knowledge of one family living in rural Paraguay, where they struggle against deforestation to maintain their cultural and biological heritage and knowledge of different plant species.

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.

As bulldozers raze their neighborhood, public-housing tenants reflect on decades of experiences and grapple with losing their tight-knit community to a rapidly gentrifying city.