Venice, Italy Italian with English subtitles The short documentary explores the world of culture, nature and gastronomy through the eyes of a chef - Lorenzo Barbasetti di Prun. As he explains his vision - he invites the observer to join him on an adventure for a search of new values of the Venetian Lagoon through the creation of dishes based from wild plants across the marshlands. We carried out the first interviews with the PI of the research and other researchers to gain useful information. Then we filmed a dialogic interview with Lorenzo that spanned 2 hours and which we edited in the film keeping only the audio. For the visual material we invited Lorenzo to shows us the "barene" and the places where he works. Here we continued with more interviews. The main challenges were given by our previous inexperience in making films (most of us were at their first experience), the very limited budget (less than 100 euros), and the very limited time (the film was made in one week after the pitch as a part of a summer school).

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.

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.

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.

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.

Tuscon, Arizona Documentary exploring the potential of a community school gardens program and garden in Tuscon, Arizona to be a learning/teaching lab. Selected Reviews It’s a great story and public service. The story is compelling and the voices authentic.

USA Oklahoma English A portrait of Polly Edwards , a Native American (Caddo) woman who directs Tribal environmental and emergency management programs in Oklahoma. Laurel Smith co-produced with Native undergraduates, Loren Waters (Cherokee and Kiowa) and Mia Riddle (Choctaw, Creek, and Chickasaw). Teaching Objective: To illustrate how Tribal environmental professionals serve their communities and encourage Native youth to consider environmental careers. Inspired by Indigenous media made in Oaxaca, Mexico, I co-produced this 8-minute video with two Native undergraduates, Loren Waters (Cherokee and Kiowa) and Mia Riddle (Choctaw, Creek, and Chickasaw). During the two years it took to coproduce this short film, we learned that Tribal Environmental Professionals (TEPs) serve Tribal and non-Tribal communities by monitoring water and/or air quality, remediating brownfields, managing natural resources, composing funding proposals, and/or overseeing educational outreach. To undertake these tasks, they work with entities such as Oklahoma’s Department of Environmental Quality, research centers at state universities, and federal science agencies such as the United States Environmental Protection Agency (EPA) and the United States Geological Survey. TEPs also collaborate together through organizations such as the Inter-Tribal Environmental Council and the Regional Tribal Operations Committee. We also learned vital clues about key Tribal leaders and Oklahoma representatives in Congress whose efforts led to the emergence of such Tribal environmental programs starting in the early 1990s. Filmmaking allowed us to identify the scope of a larger research project, establish relationships that will facilitate a participatory-as-possible approach, and led to funding for a third TEP video portrait. It also somewhat redressed the hierarchies that all too often characterize research focused on Indigenous geographies. We worked as closely as we could with TEPs, not just to learn about their careers, but also to strategize on what aspects of their education and experience they most wanted to share with us and later viewers. Selected Reviews This is an informative film about the collaborative practices of Tribal Environmental Professionals, what it is and they do, using Polly Edwards as example.

USA Oklahoma Yvette Wiley is a Native American (Muscogee Creek) woman who directs a Tribal environmental program in Oklahoma. This film shows her work and personal commitment to her work. They also learn about the educational pathways. Co-produced with two Native undergraduates, Loren Waters (Cherokee and Kiowa) and Mia Riddle (Choctaw, Creek, and Chickasaw). Teaching Aim: To show Tribal environmental professionals serve their communities and encourage Native youth to consider environmental careers. Selected Reviews This is an informative film about the collaborative practices of Tribal Environmental Professionals, what it is and they do, using Yvette Wiley as example.

Germany/South Africa Maasailand, Tanzania Cultural Geographies, more-than-human geographies Due to climate change, the lands in the rain shadow of Tanzanian volcano Meru are increasingly affected by drought. Young Maasai Paulo must find creative ways to feed his first son, who just learned to walk. As his goats lack milk, even for their own babies, he sets out into the dust every morning in search of breakfast. This film aims to explore the interspecies relationality and more-than-human entanglements involved, moving towards a multisensual, multilingual and multispecies ways of knowing. It also sets out to illustrate the agencies and co-becomings of geological formations, Spirit, fauna and flora through an audiovisual geopoetics of Maasailand. The research work that is underlying this film is still a project in progress, and concerns how different ways of knowing -of different peoples, different species and more-than-human agents- can contribute to academic knowledge making. This is part of a larger effort to make the voices of more people and even non-human others heard, and do research with them instead of on them. It is geared towards the decolonization of knowledge in academia, in which Indigenous ways of knowing are not seen as data, but engaged with as part of the theoretical conversation, thus responding to calls for cognitive justice, and extending this even across the species divide. The essentialized dualism of nature versus culture is a relatively recent, specific Northern notion (Descola, 2013; Mullin, 2002), and climate change and the Anthropocene confront us with the idea that it becomes increasingly difficult to keep separating the two (Dibley, 2012; Latour, 2017). As a wide variety of Indigenous peoples perceive and experience human and non-human animal worlds as interactive and indivisible (Ingold, 1994; Rival, 1993), their understandings of personhood, agency and the more-than-human fundamentally challenge Northern notions. These have implications for understandings of knowledge and how to do research, opening avenues to develop more dynamic, relational and multivocal approaches. However, the underlying core Cartesian dichotomy of nature/culture has been difficult to deconstruct, because it forms ‘the key foundation of modernist epistemology’ (Descola & Pálsson, 1996, p. 12). To access the ‘entirely different intellectual landscape, one in which states and substances are replaced by processes and relations’ (Ibid.), often audiovisual recording of data and dissemination of results is much more effective. It appeals to more multisensual, multivocal, contextual and dynamic ways of knowing that broaden and move beyond the mind-centered and often restrictive logic of exclusively verbal communication and information. Selected Reviews The film presents the idea that everything co-exists a chain of relation and dependence. The film is beautifully shot and unfolds at a slow but natural-feeling pace. It closes with a sense of intimacy, which makes it worth watching besides the landscape and animals. It could be interesting to open discussion about watching/observing individuals in their daily routine. Are we othering? Do we watch with exoticizing eyes? Captures the stillness and peace of the location and the man’s struggle to feed his goats. Interesting audio mix seems to focus on certain sounds, eg cow bells.