Barcelona, Spain Spanish, Catalan, Portuguese with English Subtitles The El Raval neighbourhood in Barcelona has historically been a space of working class struggles in which the identities of its neighbours have claimed their right to the city. The processes of gentrification are stripping Raval’s streets of their mischievous physiognomy. However, there are neighbourhood stories that talk about the experiences, complicities and affections between people who resist in an environment that wants them out. This film is a small sample of some of these voices: those born in the neighbourhood, the newcomers, white ones, black ones, women, men, young, old, whores, all neighbours. More than the voice of each one of them, it sets out to present a choral story of struggles and common causes. It is a story about how the bonds between people make possible for a single street (Robadors) to become a symbol of resistance and freedom.

Urdu, Hindi with English Subtitles Karachi Pakistan Edinburgh, UK This documentary delves into the rich and unique ecosystem of mangroves in Karachi, Pakistan. The film follows the journey of a local fishing community who are extremely vulnerable in the face of climate change. Severe cyclonic storms, the frequency and intensity of which are increasing at an alarming rate, have adversely affected their day-to-day life. The film interlinks their precarious lives with climate change, destruction of mangroves, and coastal development projects, and the complete apathy from those in positions of power.

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?

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.

UK This film is part of a research project exploring the relationship between movement, place and chronic pain. The subject of the film, Emma, lives with persistent pain which contracts her use of space. Emma used to snowboard and Emma could probably still snowboard. This film offers images of Emma moving through familiar pathways in her kitchen overlaid with sounds of snowboarders and the Swiss Alps. Alpen shows something of the intricacy of Emma’s movements: her rolling shifts in weight from side to side, the way she moves her hand to stool to knee on stool, spreading weight through multiple points of support as she moves round and round her kitchen. It points to the creative and highly skilled way that someone with chronic pain navigates and conjures space, and the intense creativity and somatic intentionality of the movement of relapse and recovery, positioning and re-positioning, within the movement of those who live with chronic pain. This work led to further thought concerning the way the constant reparative shifting of weight or position, often demanded by pain, can generate an unsettled embodied affect (a kinaesthetic irritation) in others because it draws attention to pain. Not being to stay in one place signals an unreliable body that keeps changing its plans, having a change of heart , having to lie down and drawing attention to itself by taking up (from a non-pain perspective) too much space. Continuous adjustments like these can create, what film theorist Mary Anne Doane describes as ‘an overly present body’ (1985:206), that is too much where it is. Selected Reviews Interesting use of fixed image on a fridge A wonderful and artful examination of the domestic and intimate space of a kitchen with texts that accompany the wordless unfolding narrative. So many layers can be discussed by students and viewers alike. I like the stark simplicity of this film.

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.

Canada Greece, Macedonia, Serbia, Hungary, Austria and Germany Political Geographies, Social Geographies English Subtitles In 2015-16, Europe was the destination of nearly one million refugees, the majority of whom traveled a historic migratory route through the Balkans to reach Germany. This film examines the trace left by this exodus among those who have witnessed it along the way with a mix of testimonies and analysis of people whose lives were transformed by these journeys. The film aimed to grasp traces, testimonies and memories of the 2015 exodus on the Balkan route. Each protagonist was met on a step of the exodus route, and the whole movie is tracing back the exiles’ journey from Turkey to Germany in 2015-2016. Departing from massive arrival images leaving feelings of “invasion” and crisis in people’s mind, the documentary sought to reach individual perspectives. This posture is fundamental to challenge the dehumanizing process conveyed by imprecise macro data and schematic description of migration trajectories. Gathering testimonies of volunteers and local people confronted to this new migratory reality was also a way to address the gap between the watcher posture and the migrants’ experience, creating a room for identification with the overall situation. The witnesses of exile are from different gender, professional and cultural backgrounds, each of them adding their own story and vision to the big picture. The project aimed to document the lasting consequences of these migrations on people’s minds and lives, traces without physical materiality that needed to be preserved and disseminated. It was my very first filming experience, with a Go-pro Camera and a micro generally used to make interviews with respondents during the research. I realized, when the idea of making a documentary came out of visioning the images, that I really grasped each encounter in a “social scientist way”. I learned much more about the filmmaker reflexes, such as the enlightenment of the background, and other fundamental aspects by working with the Film editor. The encounters were filmed with a very little amount of camera movements and a cuts and in order to give an immersive feeling to the viewed. It was also a filming laboratory for me. As the director of the Canada research chair on global migration, filming this migratory road was a meaningful process in order to make visible and understandable the complexity of migration phenomenon. Doing this two years after the beginning of the exodus was a conscious choice, in order to go out of the “emergency temporality” to reach the traces and collect them. It is an attempt to turn it into an “heritage”. It also, on its pedagogic dimension, show the setup of a social science research through conversations and co-construction of qualitative data. This kind of support can illustrate courses and give an overview of semi-guided interviews for the students. Selected Reviews A wonderful documentary about the Balkan migration. Very compelling narrative style with clear narration. Well financed with map animations and animated respondents. For the requirement of a short film, this film can be also be screened in 3 segments.

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.

Portugal Maputo, Mozambique Portuguese (English Subtitles) This short documentary film provides a perspective on the plurality of modes of urban life in present-day Maputo, Mozambique, challenging the colonial idea that the city is divided in two unequal parts, and that the formerly white “cement” corresponds to a normative urbanity that is lacking in the rest of the city. It is a montage of mostly static shots of urban space, interspersed with six short interviews with present-day citizens. The film was created with a team of 4th year students of the Bachelor in Journalism at the School of Communication and Arts of University Eduardo Mondlane. Selected Reviews Interesting! Some long static frame might be shorter for screening or shorts festivals. This film chronicles Mozambique’s urban character and structures that compare colonial and the present-day city. It shows long uninterrupted scenes to show the rhythms of the city. Oftentimes interviewed subjects talk about the mismatch between the past and the present that can at first be confusing for lack of context until one gets the idea.

Wellington, New Zealand Spanish (English Subtitles) The film shares the story and insights of the creation of a mural by the Latin American community in Wellington, Aotearoa New Zealand. Led by The Latin Collective, under the guidance of street artist/muralist Alfonso Ruiz Pajarito (Brigada Ramona Parra, Chile), this mural makes visible the presence, contribution and sense of belonging of the Latinxs in Wellington. Involving participants from over 13 Latin American countries, and in collaboration with local communities and artists, the creation of this mural opened spaces for collective reflection. It became an open gift to the city aiming to celebrate diversity, foster inclusion and counter racism. For us the film made a number of contributions: - it provides a record of the massive process we went through producing the mural, its collaborative and community flavor, and particular aesthetics - it voices and help spread the experiences, opinions and aspirations of Latin American migrants in Wellington that underpinned the motivation to do the mural - it gives a real life example of the use of street art to build community and counter racism, especially in the aftermath of the Christchurch terrorist attack against the muslim community in New Zealand, - it showcases a project that bridges generations and cultures, and the importance of, in this particular case, connecting directly with Latin American histories and aesthetics of street art to communicate issues around identity, political struggles and anti-racist discourses, - it provides a testimony for all of us involved in the project of all the hard work, fun, commitment and love we shared in this project. For us to keep those memories alive and feel proud of it. And also, to share them with new migrants and our own kids and grandkids. Selected Reviews Congratulations for the mural and to all people evolved in the project. The film has its value as journalist piece with a point of view from its director. Good dynamic footage for an interesting story. The music plays a great role.