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With a growth rate of up to a meter/day—the world record of living plants—and structural properties that in cases equal steel’s and concrete’s, bamboo is a versatile design material. A material that provide an interesting alternative in an ongoing contemporary material/sustainability dialogue. The Bamboo Dialogues seeks to answer the questions: What is this material? and Why are we not using more of it in contemporary design, engineering and architecture? The narrative of the movie spans five continents and is told by “ bamboo whisperers”: such as engineers, artisans, students, architects, designers, historians, biologists, and farmers as well as bamboo constructions and artifacts. The material in the movie is partly a crowd sourced. Successful contemporary projects and best practices in bamboo are mostly found off the beaten track and away from trendsetting metropolises in remote and peripheral areas and locations. Therefore, The Bamboo Dialogue would not have been possible to make during the restricted travel situation around the Covid 19 pandemic without the generous joint effort by a number of: institutions, companies, and individuals from around the globe. Bamboo have had a soft voice in the contemporary material discourse. The film seeks to amplifies this soft voice and showing possibilities and challenges for this miracle plant. The Bamboo Dialogues is the second movie in a series, portraying the versatile and sustainable material—bamboo. It follows the successful documentary Bamboo—the Tradition of the Future.

Jeanne's last cutting tree site has been destroyed by environmental activists. While she tries to save some equipment, she ends up stuck on the first branch of a 30 meters high, centuries-old tree. Her only hope: to climb higher to find some network and call for help.‍

The Carbon Chronicles: Who owns the air? The Carbon Chronicles is an experimental animated visualisation of the build-up of CO2 and other greenhouse gasses has radically altered the Earth’s atmosphere. It is a collaboration between artists from the Manifest Data Lab and scientists from the British Antarctic Survey. The animation maps from the industrial revolution to the present day the regions contributing most to the climate crisis, which can be traced through the stalagmite growths representing CO2 emissions growing out from the different countries. Beginning with the UK in the 1750s, emissions from coal start enveloping the planet, other regions soon follow. By the late 1800s through to the current period, growing industrial and extraction activity in the Global North is responsible for 92% of CO2 with 8% coming from the Global South. The spread of CO2 described in the animation mirrors the wider historic processes of power distribution visited on poorer countries and shows that the atmosphere is as contested a space as the territories beneath it. The work describes a living breathing planet, under the pressure of human produced exhalations of CO2. It attributes responsibility in ways that can inform the need for equitable solutions to the climate crisis that are mindful of the historic consequences of carbon exploitation and its impacts. The Carbon Chronicles informs the need for equitable solutions to the climate crisis that are mindful of the historic consequences of carbon exploitation to ask: Who Owns the Air?

What exactly is the connection between bats and coronavirus? And how has sheltering-in-place disrupted field research in California and beyond? State and local governments have set restrictions on bat research and rescue in an effort to curtail the spread of the coronavirus. Dr. Winifred Frick, chief scientist of Bat Conservation International, describes how the new restrictions have affected conservation efforts.

The Cost of Sand highlights the potential destruction of a crucial bio-link on the edge of the Ramsar wetlands from proposed expansion of sandmining in Bass Coast, Victoria. It features interviews with scientists and conservationists about the significance of preserving the last remnant coastal bushland in the region and the vulnerable wildlife and ecosystems it supports.

In the Peruvian and Bolivian Andes, more than 3 800 meters above sea level, live alpaca and vicunia breeders. Quechua and Aymara families protect their animals live off of the sale of the animals’ fiber. Gold mining is another activity that predates the Conquest and is widespread among families living in the border area between Peru and Bolivia. The difficult compatibility on the same territory of these two production activities increases the need for environmental protection and workers' rights. It has become indispensable to support producers so that this activity does not disappear with the migration of native peoples, abandoning traditions and animals.

Talitha, who works in the non-profit sector, finds ways to make her dollar stretch by dumpster diving* to rescue and reclaim unused food. Director How is a graduate of the prestigious MFA Directing program at the UCLA School of Theatre, Film and Television. *Miriam-Webster: The practice of searching through public trash receptacles for edible food or discarded items that retain some use or value.

The Fabricated Wild explores the intersections between the natural and artificial within the Florida wilderness using personal film-making technology. Images strictly of the natural landscape are sequenced to break from traditional cinematic viewing techniques. Images foreground the natural Florida landscape in the frame and communicate how cinema fabricates the expansive wilderness. The Fabricated Wild frames the complex interaction between a frustrated filmmaker and the collective unconsciousness of the natural environment, a theory outlined by Carl Jung, considering the implications and discoveries along the way. The film frames the experience of interacting with and revealing the forest’s collective unconsciousness that is frequently hidden in cinema to call for an experimental way to engage with the natural landscape. 16mm, Super 8.

Florida’s artesian springs are a natural wonder of the world. As unique as the geysers of Yellowstone and as mesmerizing as Vernal Falls in Yosemite, these blue jewels surrounding the north Florida landscape are considered a treasure by many who see them. The state contains the largest and highest concentration of fresh water springs on earth. But today, the future of Florida’s springs is uncertain. With flow levels declining and nitrate pollution on the rise, the springs today bear the scars of a profound struggle. Florida's own government continues to approve permits for large companies that want to pump water from the springs and their springsheds, for nominal permit fees that often cost less than a day pass to Disney World. The Fellowship of the Springs takes viewers behind the scenes of the fight to save Florida's springs, from the halls of the state capitol in Tallahassee to deep caves of Ichetucknee spring.

Twenty minutes outside of Visalia, amidst the seemingly endless rows of citrus trees, Yolanda Cuevas packs enchiladas with shredded chicken for her husband Benjamin, their adult daughters and two teenaged grandchildren in her modest single-story home. Their house is the first one off the main drag, one of 83 lining the two crumbling roads that comprise the tiny town of Tooleville. Yolanda must wash the tomatoes for the salsa first in the sink and then again with a splash of clean water from a 5-gallon jug. The process is arduous, and though she’s resigned to do it, she’s not happy about it. Along with Tooleville’s several hundred other residents, Yolanda’s family has survived on bi-weekly delivery of water to their homes for the past 12 years. It’s an annoyance for the family, and it’s expensive for the State of California, which has been paying for the replacement water since the discovery of Chromium-6 (the same chemical featured in Erin Brokovich) in the water. The simpler solution would be to consolidate the town’s water system with that of its larger, affluent neighbor to the west, Exeter. And for this purpose, Yolanda has become a reluctant activist, attending community meetings in Tooleville and lobbying for consolidation at Exeter’s city council meetings under the expert guidance of Pedro Hernandez, an organizer with the Leadership Counsel. While Exeter has resisted the consolidation since it was first proposed, organizers like Pedro feel that this could be the year Exeter finally succumbs to the growing community pressure and brings Tooleville into the fold. The decision will echo around the Central Valley and across the state, as hundreds of similar community water systems find themselves in a nearly identical predicament.

Join Maya van Rossum, Founder of Green Amendments For The Generations, in her exploration of New Mexico’s biggest environmental issues and the role a NM Green Amendment could play in the fight for environmental justice with: Senator Antoinette Sedillo Lopez, legislative sponsor of the New Mexico Green Amendment; Emma Rose Cohen, CEO/Founder of the sustainable business Final; Beata Tsosie-Peña, Environmental Health and Justice Program Coordinator for Tewa Women United; Artemisio Romero y Carver, founding member of Youth United for Climate Crisis Action (YUCCA); and Dee George and Penny Aucoin, fracking waste accident victims impacted residents of Otis, NM.

A childhood discovery inspires a woman to push the boundaries of our compassion in this true story. The esteemed Earthlings creator, Shaun Monson, weaves together archived news clips, never seen before arrest footage, and current interviews to tell this tale that crosses countries and decades. Cameo appearances by Joaquin Phoenix and other famous animal advocates.