This short documentary film illustrates the various ways people fight the high cost of energy by devising ingenious ways to use wood, the sun, and the wind. The film highlights one such project named the Ark. Using natural systems only, this bio-shelter ingeniously provides…
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Set in the military outpost of San Antonio, Texas, AFTER FIRE highlights the challenges faced by the fastest-growing group of American veterans: women, who now account for one in five new recruits to the U.S. Armed Forces. Demonstrating courage during their military service and resilience in its aftermath, three women military veterans candidly confront the fallout of their experiences on their personal lives as they adjust to the civilian world. The film throws a spotlight on the human toll of military service - including military sexual trauma, combat injuries and bureaucratic dysfunction - telling a universal story about strength in the aftermath of trauma.

Director Maureen Blackwood harnesses the distinctive style of the Sankofa Film Collective to sketch the Abrew family tree. The achievements of the unique showbiz family are celebrated using rich archive material, including footage of family members in supporting film roles alongside Paul Robeson and intimate fireside-style testimony. The existence of Black British communities before Windrush is foregrounded, with insights into the Abrews' imprint on British culture beginning in 19th century Scotland.

Laila Paattinen is a working woman. Tired of low-paying jobs, she completed a five-month course in dry-wall installation. Because she had chosen a non-traditional job for women, she ran into resistance in the marketplace. She finally solved her problems by opening her own dry-wall application business. A useful film for women seeking non-traditional jobs.

The first film made by Jenny Gilbertson (nee Brown), with a second hand 16mm cine camera on which she taught herself the rudiments of photography and editing. She stayed with crofter friends in Shetland while shooting scenes through the changing seasons during 1930-1931. The intimacy she established with her hosts, who are the subjects of the film, clearly comes through.