In a time of tampered food and farming, an appreciation for nature and its untold mysteries is as strong as ever.

Tomonari Nishikawa’s Lumphini 2552 (Thailand) is an exhilarating chiaroscuro montage of still photographs taken in Bangkok’s inner-city oasis, Lumphini Park.

Nicky Hamlyn’s Pro Agri (UK) is a time-lapse composition that bears a powerful and timely pro-land, proagriculture message.

Cordão Verde (Portugal) by first-time filmmakers Hiroatsu Suzuki and Rossana Torres is part poem and part documentary that observes farmers in the greenbelt of Portugal as they work and rejoice off the land’s riches.

Chris Kennedy’s serene and painterly Tamalpais (Canada) was filmed while perched high above San Francisco. The majesty of the landscape materializes in relation to an easel-mounted grid that not only recalls the tradition of plein air perspective painting but also reverses the spatio-temporal dynamics inherent to cinema.

Bookending the programme in 35mm black and white is Karl Kels’s Käfig (Germany), an incredible, archaic burlesque dance of rhinoceroses that uses high-contrast and positive-negative juxtapositions to blend notions of domesticity and wilderness.