"We have been ordered to leave. They told us our lease has expired. Their cast-offs litter our landscapes. We have our ways of keeping out of sight. These are our microrefugia..."
As human-induced global climate change threatens the viability of nearly every ecosystem on earth, small refuges, the microrefugia, may provide safe havens for the organisms that can successfully survive there. Small plants, fungi and species yet to evolve may yet be long-term survivors, if only we give them a chance... Nearly all of this footage was recorded in the Belair area of unceded Kaurna Land in South Australia. Much of it was filmed among the native plants in our own garden, with key elements recorded in Belair National Park. The music is in 11/4 time and includes samples of birds, frogs, machines, engines and alarms in and around the environments where the videos were recorded.

In my "The Stream series", I have expressed the transformation of landscapes as a result of the interactions between humans and nature.? In "The Stream XIII", the 13th in the series, I focused on how the landscape is transformed when the wind as a weather phenomenon streams through the fields and reed fields cultivated by humans. For sound effects, I used the sound of a wind chime. A wind chime consists of a bell made of iron with a weight suspended by a string inside. When the wind blows, the weight rings inside by wind pressure. I used the wind chime to perceive the invisible presence of wind as sound. And also we can perceive the invisible presence of wind as visualized wind ripples in the fields. I expressed the invisible scenery through sound and images.

Zuza Banasi?ska reinvents the famous Slavic witch Baba Yaga through a clever montage of films from ?ód?’s Educational Film Studio, containing sexist content. Questioning their own non-binary identity through an unsettling voice-over that tells the story of a matriarchal family, they unleash the queer dimension of images tasked with conveying a normative conception of identity. c

In a realm embroidered with the threads of history's battles, the human form transforms into a poignant landscape, echoing the violence etched upon its land and people in the tapestry of the Arab land.

He does not remember much from that time. Things have faded, like the color of a painting after too much light. The only thing that bothers him is this music. It keeps popping up... He thinks he has forgotten what it means. All he knows, for sure, is that he cannot get it out of his head.

How to step into a new kind of Jerusalem without becoming what we feared? How to leave behind every notion of the chosen few, and embrace the ones along the way, finding a promised land in each other.
Based on an excerpt from the poem Red Sea: April 2002 by Aurora Levins Morales, a disabled Puerto Rican Jewish writer and activist.