It’s a scenario that many governments around the world are being forced to contemplate as rising sea levels and extreme weather make more of the planet uninhabitable.

But rarely do audiences get an inside look at what a mass evacuation or relocation might look like.

Danish film director Thomas Vinterberg hopes to change that with his latest work, Families Like Ours, a seven-part miniseries that originally premiered at the 2024 Venice International Film Festival before being acquired by both the BBC and Netflix.

Families Like Ours is unusual for a climate-themed show in that it doesn’t feature any scenes of extreme weather. But even without a wildfire, hurricane, or drought wreaking havoc on vulnerable populations, this drama series still forces viewers to think about the physical and emotional toll of climate migration.

Set in the not-too-distant future, Families Like Ours follows the aftermath of the Danish government’s decision to evacuate the country of 6 million people due to rising sea levels. Instead of fighting against the rising tide by hopelessly throwing money at dams, dikes, and levees — as the Netherlands, its neighbor to the south tried to do, wrecking its economy in the process — the Danish government chooses to cut its losses and relocate the entire population while there’s still time.

Watch "Families Like Ours" on Netflix

This decision sets off a cascade of bureaucratic chaos and social upheaval as families are forced to reconfigure their lives on the fly with only a few months to plan. While the mass migration is as well-organized as possible, there are still countless Danish citizens who get lost in the cracks and have to choose between resettling in an unfamiliar place, or trying to illegally migrate to somewhere to be closer to family or to have a chance at a better livelihood.

It’s an impossible choice that can reveal a lot about humanity’s capacity for survival.

Given a choice, most Danes would obviously want to stay home to be close to family, friends, and cultural traditions. But all over the world, many families are starting to run out of options.

The reality of rising sea levels

The threat of rising sea levels is forcing many island nations and low-lying countries to contemplate how to relocate their people.

The scientists and think tanks that study this issue believe that there could be anywhere from 200 million to 1.2 billion climate refugees and migrants globally by 2050. Some countries, like the Pacific island nations of Kiribati and Tuvalu, will likely need to relocate their entire populations over the next few decades. Other countries, like Denmark and the Netherlands, may be forced to abandon large parts of the coast.

Denmark is actually better prepared than most despite 24% of the country lying less than 10 meters above sea level. The government is working hard to make the capital, Copenhagen, into a “Sponge City” that can better withstand floods. Structural defenses, like an artificial island and other flood barriers, are also in progress.

But at a certain point, the costs of these impressive innovations may outweigh the costs of a planned retreat or relocation.

Understanding this trade-off is what makes shows like Families Like Ours — and documentaries like Oceania — such an important part of climate cinema.

It’s one thing to read academic studies about climate migration, which tend to distill vulnerable populations into an elaborate math problem that only some combination of policy and capital can solve. But it’s much a different story when audiences are introduced to individual characters, complete with hopes, dreams, and fears about what the future may hold.

The people of Denmark and Kiribati may be almost 15,000 kilometers apart, but their stories share many of the same characteristics as more governments start to think about the unthinkable.

In some ways, Families Like Ours displays a best-case scenario of a controlled and coordinated relocation scheme that gives each resident an opportunity to start a new life, albeit not necessarily in a country of their choice. The Danish government is even able to retain some economic power by turning the flooded country into the world’s largest wind farm.

In reality, large-scale relocations are likely to be much more chaotic. The modern world is nowhere near ready for 1 billion climate refugees. And even those people that do find a new home are likely to face xenophobia wherever they go.

But if there’s a lasting message from Families Like Ours, it’s that sometimes it takes a crisis to bring out our shared humanity.

Dmitriy is a CFF volunteer and a Contributing Editor for Cinecology.

Background

Logline: As Denmark faces total evacuation due to rising water levels, high school student Laura must choose between her divorced parents and the boy she is in love with.

• Stream on Netflix or BBC

• Released for U.S. audiences on June 10, 2025

• Premiered at 2024 Venice International Film Festival

• Directed by Thomas Vinterberg

• Produced by Studio Canal, Canal+, TV 2 and others

• Climate themes include: rising sea levels, flooding, flood prevention, climate migration, climate refugees, inequality, xenophobia

Each of these extreme weather events has a common culprit — climate change.

And each event has a typical outcome — the displacement of people with nowhere to go and a lack of resources to rebuild.

Josh Fox, director of the new HBO documentary The Welcome Table, brings these people together to share their stories over a literal 1,000-foot dinner table his team has constructed on top of a New Orleans levee.

Watch "The Welcome Table" on HBO Max

Fox is no stranger to environmental filmmaking. In 2010, he wrote, directed, and produced the award-winning documentary Gasland, which helped galvanize the anti-fracking movement through its exposure of the environmental impacts of fracking on local communities. His more recent work includes The Edge of Nature (2025) about the “anthropause” during the Covid-19 lockdowns and How to Let Go of the World and Love All the Things Climate Can’t Change (2016), which premiered at the Sundance Film Festival and was also later released on HBO.

Fox’s newest project has a lot of the same themes about the climate crisis and its disproportionate effects on vulnerable populations, but it also comes with a rallying cry.

Yes, the individual stories of climate-fueled disaster are heartbreaking, but they are also instructive in that they follow a familiar pattern anytime someone’s home is destroyed. This loss is about more than just about losing a shelter or personal belongings. It’s about being pushed into a precarious existence where the only way to survive is to learn to rely on each other.

This theme of shared humanity and solidarity is often missing in other climate documentaries. But The Welcome Table stays rooted in a message of hope — not the kind that is dependent on unprecedented government action and technological breakthroughs, but rather the kind of hope defined by human empathy and compassion.

One of the most memorable scenes in The Welcome Table is set in the Italian town of Riace, not far from where Fox’s grandparents grew up. Riace is much like other towns in southern Italy in that it’s been hollowed out from decades of emigration by Italians to America. But what differentiates Riace is its former mayor, Domenico “Mimmo” Lucano, who is trying to reinvigorate the town by welcoming migrants coming from across the Mediterranean. This so-called ‘Riace model’ has inspired countless other communities across Europe that are struggling with the twin challenges of structural economic decline and migrant integration.

Part of the problem with implementing this model more widely is that, legally, there is no such thing as a climate refugee.

Policy vs. reality

The 1948 Universal Declaration of Human Rights (UDHR) is considered a historic document in laying out a legal framework for human rights. Among the universal rights UN member states agreed to are:

• Article 13: Everyone has the right to freedom of movement and residence within the borders of each state. Everyone has the right to leave any country, including his own, and to return to his country.

• Article 14: Everyone has the right to seek and to enjoy in other countries asylum from persecution.

The 1951 Refugee Convention and its 1967 Protocol built on these basic rights by defining the term ‘refugee’ and outlining their rights and the international standards of treatment for their protection.

A refugee is defined as someone who “owing to well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group or political opinion, is outside the country of his nationality and is unable or, owing to such fear, is unwilling to avail himself of the protection of that country; or who, not having a nationality and being outside the country of his former habitual residence as a result of such events, is unable or, owing to such fear, is unwilling to return to it.”

But nowhere does the document mention what legal status someone should fall under when their home becomes uninhabitable. That means someone displaced from their home due to rising sea levels, extreme weather events, or environmental degradation does not qualify for the same protections as a “typical” refugee.

But as The Welcome Table makes clear, there is no such thing as a “typical” refugee anymore.

• 1 out of every 3 people will lose their homes due to climate change

• The UN estimates that at least 1.2 billion people globally will be displaced by climate change by 2050

Of course, the communities with the fewest resources — and the least responsibility for causing the crisis — are among the hardest hit. But even middle and upper class people are not immune to climate threats. Just ask the hundreds of people working in Hollywood who lost their Malibu homes in the 2025 Palisades Fire. Or the Swiss village of Blatten that was flattened by a landslide caused by a collapsing glacier. Or the 108 people who lost their lives when Hurricane Helene smashed into North Carolina in 2024.

These disasters are only becoming more frequent as the planet warms and climate impacts intensify. Nobody wants to leave their home, but increasingly people are left with no choice.

The Welcome Table doesn’t shy away from the scale of the problem, but it also hints at a potential solution.

The mission of the film, according to the promo materials, is to use stories to “build empathy and outrage for the current situation, and in the wake of destruction, we see the power of communities to care for each other - the inspiring acts of bravery and mutual aid within communities and throughout diasporas offer a map for our survival.”

The table is a metaphor, laden with critical ideas about mutual aid, community, and policy changes necessary to help us face this migration crisis with dignity and care.

The film even comes pre-loaded with an impact campaign and several actions that concerned viewers can take.

• Sponsor a table event in your city

• Donate to the impact campaign to help bring the film to more people

• Host a watch party with your friends or through your organization

No one action will solve the refugee crisis, let alone the climate crisis. But The Welcome Table works because it leaves viewers hungry for a seat at the table. Despite all the political and media rhetoric meant to divide us, nothing can overcome the power of human connection.

Dmitriy is a CFF volunteer and a Contributing Editor for Cinecology.

Background

Logline: Tells the story of climate refugees across six continents, celebrating the voices and experiences of people living at the forefront of the climate crisis, displaced from their homes by climate disasters.

• Stream on HBO Max

• Released on June 23, 2026

• Directed by Josh Fox

• Produced by International WOW Company

• Learn more at

  www.thewelcometablefilm.com

• Climate themes include: extreme weather, wildfires, flooding, landslides, climate migration, climate refugees, human rights

In this episode of Climate Cuts, host Akosua Owusu-Akyaw speaks with filmmaker & animator Max Romney about his short film A Little Story About Forever.

Film Synopsis

This short film unfolds from the POVs of father (Max) and son (Kip) as they attempt to write a book about what forever means. The father feels overwhelmed by the implications of per- and polyfluoroalkyl substances (“PFAS”) or “forever” chemicals on the environment and the future. He calls an unlikely hero, Mark Ruffalo, to ask for help seeing the big picture. Made in collaboration with Keen.

A Little Story About Forever was screened at the 2025 New York Climate Film Festival

Watch A Little Story About Forever!

Stay tuned for more episodes of Climate Cuts for conversations with filmmakers from the Climate Film Festival.

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In this episode of Climate Cuts, host Akosua Owusu-Akyaw speaks with Raphael Schanz, director of Beni Youth (2024, co-directed with Philipp Seifert). Some of the topics we discussed include: the global injustice of climate migration, what it takes to earn trust as a filmmaker, and what the young people of Beni taught him about resilience.

Raphael is a Berlin-based documentary filmmaker. Influenced by the tradition of Direct Cinema, his work frequently engages with themes of identity and community and often use character-driven, intimate stories to explore contemporary social questions. Raphael is the co-founder of the production company Panther Reh.

Film Synopsis:

Beni Youth is a documentary by Berlin-based filmmaker Raphael Schanz, co-produced by Panther Reh. Set in the village of Beni, Malawi, the film follows a group of young people who are choosing to stay and fight for their community against the threat of climate change. Through tree planting, community savings, and solidarity, they embody a vision of grassroots climate action rooted in resilience, hope, and a love of home. Their story asks us to reconsider who bears the weight of the climate crisis, and who is already building the world after it.

Beni Youth was screened at the 2025 Climate Film Festival in New York City.

Akosua: What sparked the initial idea for this film, and how did that idea evolve through the filming process?

Raphael: The project was commissioned by the Protestant Church in Germany, which wanted to produce educational films about migration. From the start, we didn't want to just present facts or showcase project results. We wanted to tell human stories that stay with you. And we definitely didn't want to repeat the usual narrative of the "poor and helpless African refugee." Instead, we focused on those who stay, people who take action and try to make things better where they are. The young people in Beni truly grew on us. They were changemakers. What began as a commissioned project turned into an intimate, hopeful film about resilience and community.

Akosua: This film explores the reasons behind climate migration and its effects on the communities left behind. What is an important aspect of this issue that you feel is often neglected in broader conversations?

Raphael: We wanted to challenge this persistent idea that "the whole of Africa is coming to Europe." In reality, most displaced people stay in their own country or move to a neighboring one. What's often overlooked is how deeply the climate crisis shapes these movements, and how unfair it is that those who have caused it the least are suffering the most. These are global injustices that play out locally, every day.

Akosua: Can you walk us through the behind-the-scenes journey of making this film? What were some of the key moments or experiences that stood out?

Raphael: We were in a very remote area, and at first, the whole village came out to greet us with songs and speeches. It was overwhelming! It took days to move from that formal level to real, everyday life. They first thought we were like other visitors, that we'd walk around for a day, take a few photos, and leave. But we stayed. We spent time without cameras, just talking and listening. And when the people realized we were genuinely interested in their lives, something shifted. That's when the real film began.

Akosua: The youth and community regeneration are central themes in Beni Youth. What would you like audiences to know about the resilience and potential of these young community members?

Raphael: The young people we met were incredible, creative, determined, and full of ideas. They embody a new generation who do things differently, who take responsibility for their communities. They're not waiting for help; they're building change themselves. They show that resilience isn't just surviving; it's creating new possibilities where others might have already given up. I think that's something we can all learn from.

Akosua: What aspect of filming moved you most?

Raphael: Probably the quiet strength of the people we met. There's a sense of dignity and calm even in the toughest conditions. It reminded me that storytelling can be simple. Just being present and paying attention can be powerful.

Akosua:Where can people find you and any upcoming projects you have?

Raphael: Together with my friend and cameraman Philipp Seifert, I run the production company Panther Reh in Berlin. We are currently working on a feature documentary that opens the doors to a hidden world, the backstage of three very different theatre ensembles: a city theatre, an inclusive theatre, and a prison group all playing Shakespeare's "Twelfth Night." It's an intimate portrait about transformation, identity, and the masks we all wear. And of course, the next climate project will come. It has to. It's too important not to.

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In the first episode of Climate Cuts, host Akosua Owusu-Akyaw speaks with Michael Salama and Gastón Zilberman, directors of Qotzuñi: People of the Lake (2024), a short film about the Uru people in Bolivia and the impacts of the desertification of Lake Poopó due to mining. In this conversation, they discuss the politics of water in Bolivia, the importance of portraying culture & community, the local economic impacts of the lake, and what they hope viewers take away from the film. The story of the Uru people and Lake Poopó’ ask us all to consider our relationships to land, water, and community.

Film Synopsis:

“The lake was our mother, our father. Now, we are orphans.” For generations, the Uru Indigenous Nation had been the inhabitants of the 3,000-square-kilometer Lake Poopó, living on floating islands, hunting and fishing for sustenance, and forming an inextricable cultural bond to its vast waters.

Throughout the early 21st century, the Uru way of life changed drastically; industrial mining operations contaminated and diverted Lake Poopó’s tributary streams, which, along with extensive drought, caused the lake’s waters to disappear entirely by 2016. This documentary short explores the challenges faced by the last remaining Urus of Lake Poopó, as well as their resilience and adaptation in the face of obstacles to water access. Despite the loss of the lake that once defined their culture and means of survival, the Urus continue to call themselves Qotzuñis—their ancestral word for “people of the lake.”

Qotzuñi was screened at the 2025 New York Climate Film Festival

More about the film:

www.qotzunifilm.com

www.instagram.com/qotzuni

Film Credits
Director: Gastón Zilberman, Michael Salama

Producer: Gastón Zilberman, Michael Salama

Co-Producer: Jordan Salama

Cinematographer: Gastón Zilberman

Editor: Axel Cheb Terrab

Composer: Carlos Carty

Sound Design: Alex Roitman

Year: 2024

Language: Spanish, Quechua

Country: Argentina, Bolivia

Stay tuned for more episodes of Climate Cuts for conversations with filmmakers from the Climate Film Festival.

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Nausicaä of the Valley of the Wind (1984), 118 min.

Dir. Hayao Miyazaki

Nausicaä of the Valley of the Wind (1984, dir. Hayao Miyazaki) is a visually stunning, intellectually stimulating animated film that feels incredibly relevant in our current global landscape. As we grapple with climate change and environmental crises, Nausicaä’s journey and her message of harmony with nature echo growing sentiments among many of us today.

Directed by Hayao Miyazaki and released in 1984, the film laid the foundation for Studio Ghibli’s celebrated legacy and its recurring focus on environmental themes, which appear again in later works such as Princess Mononoke (1997) and Ponyo (2008).

The film takes us to a post-apocalyptic future when the Earth is recovering from ecological disaster and war. Human survivors live in isolated communities surrounded by the toxic Sea of Decay, a sprawling jungle inhabited by giant, mutant insects. At its heart, Nausicaä of the Valley of the Wind explores the ever-present question of how humanity should engage with the natural world and challenges the view that nature exists solely for human exploitation. By focusing on a future society in which people live in fear of a “rageful” environment created by past human exploitation and violence, the film forces the audience to grapple with the dystopian effect of our anthropocentric mentality.

At the same time, the film showcases a different possible future through the main character Princess Nausicaä, a future of hope. Nausicaä’s connection with the environment and its creatures is antithetical to our current model of self-centered exploitation. She symbolizes living together and in mutual respect with nature, and her journey asks the audience to consider the idea that real unity comes from understanding and empathy, not domination. As our current climate landscape worsens, Nausicaä’s fight to heal her society 1,000 years in the future inspires us to persevere here in the present. The movie’s focus on harmonic living reminds us that human imagination is a powerful tool as we strive towards a more environmentally-conscious future.

Watch Nausicaa Here

Hayao Miyazaki’s iconic direction, combined with breathtaking animation and a powerful message, makes this film an enduring classic. Whether you are a longtime fan of Studio Ghibli or new to Miyazaki’s work, Nausicaä of the Valley of the Wind is a climate classic worth a watch this summer.

Rahul Nihalani is a CFF Founding Volunteer and Marketing Lead.

Original Post June 30, 2024

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Evil Does Not Exist (2023), 106 min.

Dir. Ryusuke Hamaguchi

Ryusuke Hamaguchi's 2023 film Evil Does Not Exist is a contemplative slow burn that engages in an honest conversation about community buy-in contrasted against the capitalist systems that cause environmental and social injury. The story takes place in a small village in Japan, and the plot is catalyzed when two representatives from a corporation in Tokyo show up to propose building a “glamping” site in the middle of town. One of the main problems is that the proposed site would need a new septic tank, the location of which would pollute the town’s water supply, which currently flows downstream from the mountains uninhibited and is a staple of the community.

Just as important as the plot is the perspective and the pacing. The cinematography – by Yoshio Kitagawa – often takes on the perspective of non-human entities: a wild wasabi plant about to be picked, or a web camera spying on a money-focused manager as he manipulates his more sympathetic employees.

The movie has long drawn-out shots that force the audience to linger within the atmosphere of each moment, rather than rush to a conclusion. We watch the entirety of a community meeting with the glamping corporate representatives, tension slowly simmering and starting to boil over. We follow a villager and his daughter on a tender walk as she points out various plants, and he affirms or corrects her. And we’re privy to the honest and somewhat awkward car ride conversation between the company’s two representatives as they discuss subjects like the subtle loss of dreams, the loneliness caused by the pandemic, and the modern societal pressures that motivate them to side with their company, even if they philosophically agree with the villagers.

Watch Evil Does Not Exist

Without giving much away, I felt that the title, along with the film’s conclusion, encapsulated an overarching perspective of nature: that unlike us, the environment does not concern itself with morality, instead foregoing judgment or sympathy. Our actions and their causes and effects, both positive and negative, are neutrally absorbed – which is not to say that they will not lead to what we would call a tragedy.

Akosua is a CFF Founding Volunteer and our Education + Digital Magazine Lead.

Original Post May 25, 2024

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Cooked (2019), 82 min.

Dir. Judith Helfand

As part of our Earth Week 2024 programming, CFF is excited to collaborate with WE ACT for Environmental Justice to screen Cooked: Survival by Zip Code (2020, dir. Judith Helfand) on April 26th at the Maysles Documentary Center. Cooked is a documentary about one of the deadliest heatwaves in U.S history, which took place in Chicago during the summer of 1995. Over the span of just one week, 739 people died from the effects of extreme heat. But what’s even more striking about this figure is that the majority of the people who lost their lives were poor, elderly, and African American.

Cooked frames heatwaves as what they increasingly are: natural disasters that are exacerbated by climate change. With 2023 being the hottest year on record, the frequency and intensity of natural disasters has increased, and we’ve seen the same pattern reflected with heatwaves. In major U.S. urban areas, they’re happening more often, for longer stretches, and at a much more severe level. As revealed in the documentary, heatwaves kill more Americans than any other natural disaster, and communities of color are the most impacted by far.

Watch Cooked

Cooked asks an important question: when heatwaves strike, who’s actually guaranteed safety in U.S. cities, and who isn’t? As natural disaster preparedness becomes more relevant, we have to consider the issue through the lens of privilege and equity. Many communities of color in urban areas don’t have access to the tools that are necessary to defend themselves from extreme heat, whether that be reliable AC, backup generators, or even the ability to keep their windows open due to safety concerns.

Last year, NYC was ranked as the most intense heat island in the country, and so implementing state-wide extreme heat mitigation measures is critical. Our screening collaborator WE ACT is working with South Bronx Unite, Earthjustice, Groundwork Hudson Valley, New York Disaster Interfaith Services, NRDC, and HeartShare Human Service through the NYS Extreme Heat Coalition, formed to protect heat-vulnerable urban communities throughout New York State. You can learn more about the Extreme Heat Coalition’s incredible work and how you can take action or get access to resources to address extreme heat in New York State.

About WE ACT

WE ACT for Environmental Justice is a community-based organization headquartered in Harlem with a Federal Policy Office in Washington, D.C. Its mission is to build healthy communities by ensuring that people of color and low-income participate meaningfully in the creation of equitable environmental policies and practices. A recognized leader in the environmental justice movement, WE ACT has been organizing and advocating at the city, state, and federal levels for the environmental health and protection of Northern Manhattan communities since its founding in 1988. You can learn more at weact.org and follow them on Twitter/X and Instagram at @weact4ej.

Aashika Balaji is CFF’s volunteer Community Engagement lead and manages the relationships with community groups around New York City, which is a critical part of CFF’s environmental justice platform. She’s been working in the climate space for 3 years as a Senior Program Associate at The Clean Fight, a nonprofit climate tech accelerator based in New York City.

Original Post April 17, 2024

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Leave the World Behind (2023), 141 min.

Dir. Sam Esmail

Sam Esmail’s slow-burning thriller, Leave the World Behind (2023), follows the Sandford family on a vacation out of the city to a hamlet in Long Island. After they settle into their vacation home, the unexpected arrival of strangers, the loss of internet connections, and other odd occurrences create an ominous environment that forces them to piece together what appears to be a mysterious, large-scale event and face their own prejudices.

The film, which stars Julia Roberts, Ethan Hawke, Mahershala Ali, and Myha’la, features one particular scene that is subtly filled with climate symbolism. In an establishing shot, we see a beautiful blue sky and calm waters with only a tiny dot on the horizon to disturb the perfectly parallel lines in the frame. But as the Sandfords settle in, and the kids go for a walk, the camera pans over a beachscape that is unfortunately familiar to anyone who has spent time on the shore in the past decade: a tide line of seaweed littered with plastic soda bottles, Solo cups, and food wrappers.

The idyllic setting is tainted with plastic pollution, in sharp contrast to the establishing shot that depicted a bluebird day. The camera’s gaze over the litter makes it impossible for the audience to ignore, even as it is overlooked by the characters. But while young Archie (Charlie Evans) is busy ogling two young women, his sister Rose (Farrah Mackenzie) first notices a boat on the horizon. She comments on how large it is, although to the audience it is just a small speck on an expansive horizon, one easy to ignore unless you care to pay attention.

In the next cut, the family is snacking under the shade of their umbrella and Archie gets a match in his dating app. Rose is the only one who pays attention to the ship, which she notes is getting closer. Clay, the father, says, “Oh yeah, she’s a beaut’. Looks like an oil tanker,” minimizing his daughter’s obvious concern while signaling to the audience what the impending danger represents.

Time passes while the family naps. When the mother glances up from her book she sees Rose staring off into the distance and hears her say, “I think that ship is heading towards us.” Finally, the ship comes so close that the parents can no longer ignore the threat. At the last moment they hurry their family out of the way just as the tanker crashes onto the shore.

There are other references in this scene to the crisis we face. The youngest member of the family is the first to notice that something is amiss, and her elders quickly and easily dismiss her concern. How can we not think of the throngs of young people who have taken to the streets to demand action on climate change, only to be dismissed, mocked, and even demonized by the older establishment?

Watch Leave the World Behind

In some ways, the scene points out the pleasant banality of life that keeps us from recognizing approaching danger. The Sandfords nap, snack, and ogle their way through a day at the beach, oblivious to the swiftly approaching threat pointed directly at them. Film buffs will connect this scene with the masterful beach scene in Jaws (1975, dir. Steven Spielberg), where another sun-drenched day at the shore ends in terror. The final shot appears to make this connection by paying homage to Jaws’ famous poster.

In a moment of sarcastic levity, Rose and Archie’s mom, Amanda (Julia Roberts), gleefully spots a Starbucks on the drive home, and for the time being, the comforts of consumerism allow the Sandfords to ignore the traumatic events that have already begun to unfold around them.

Ben is the Climate Film Festival’s Communications Lead. He brings over a decade of experience in marketing for Fortune 500 companies along with a deep passion for climate solutions and love for the natural world.

Original Post April 2, 2024

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Pumzi (2009), 22 min.

Dir. Wanuri Kahiu

Sitting at the intersection of cli-fi and Africanfuturism, Pumzi is an imaginative 2009 Kenyan short film directed by Wanuri Kahiu. The story is set in a futuristic country in Africa, where the once-flourishing natural ecosystem has gone extinct, leaving behind a desert landscape in which water is scarce and heavily rationed in the aftermath of World War III, dubbed the “Water Wars.” The audience watches as Asha, a curator for a museum that houses the only remains of the country’s now extinct flora and fauna, receives a mysterious box containing water-enriched soil–leading to the surprising sprouting of a fresh seedling, a confrontation with restrictive government forces, and a race to protect the first signs of external life in generations.

In a time in which we suffer from climate grief, when many of us feel nature speaking but can’t entirely say how or why, Pumzi hits close to home. In a reversal of roles, once Asha escapes to the outside world and plants the seedling, she uses her own sweat to provide water for the plant and her own body to shade it from the heat. She becomes the “mother of nature,” illustrating that there are fewer differences between humans, the environment, and our past and future than one might expect. In other words, we are all part of a sentient global ecosystem, in constant conversation with what we destroy and what we protect.

The director summarizes it best: “Pumzi is a visual ode to life. A life that… has within it that which is good, that which is beautiful and that which is love. Pumzi is the essence of all these. Pumzi is my breath.”

If you’re interested in watching an innovative short film that’s just as relevant now as it was in 2009, check out Pumzi and follow director Wanuri Kahiu on her website or on Instagram.

Watch Pumzi Here

Akosua is a CFF Founding Volunteer and our Education + Digital Magazine Lead.

Original Post March 12, 2024

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