This spring Asian Movie Night is collaborating with the UvA Green office to bring you
Ripples, Echoes, and what if the Earth Whispers as we further explore topics around Indigenous lands and territories, kinship and knowledge that are disproportionately affected by climate change, capitalist economies, exploitation of resources and destructive policies.
How can we listen to the Earth, the knowledges its people have inherited while keeping capitalist impulses to greenwash and appropriate at bay? Where can our attempts to (un)learn and shift our relationships to the land and communities we live with lead us?
This programme follows our previous edition
Listening Nearby. Through Soils and Seas, and consists of some already screened, and some new films.
On 11 April, at 20:30, join us for the feature film Woman Carrying the Pray, and on 18 April, at 19:30, we will present a collection of shorts alongside an after-movie panel talk. Additionally, on 16 April we will be holding a creative writing workshop with Trash Skeleton at Vox-Pop UvA space in Amsterdam.
![]()
Creative writing workshop with Trash Skeleton:
Queerness, Decolonisation and in love with Nature
15 people max | English | RSVP
Workshop:
Wednesday, 16 April 2025
16:00–18:00
Vox-Pop
Binnengasthuisstraat 9, 1012 ZA Amsterdam
@voxpop_uva
Trash Skeleton (she/her)
creative writing workshop
Queerness, Decolonisation and in love with Nature will present three topics and lessons that can help influence the way we think about writing. Each lesson is supposed to engender creativity without shining a light on any "real" or "correct" way of expressing yourself.Each lesson will be followed by a writing prompt around the topic and then everyone will be able to read what they have written so far with the option of opening themselves up for feedback. Trash Skeleton (she/her) always tries to cultivate a trusting, calm and respectful environment so that people feel comfortable to share their lovely pieces and she can't wait to see what y'all have in store!
register here
Panel talk with
Som Supaparinya and
Myra Colis, moderated by
Chihiro Geuzebroek
After the shorts screening in Cavia, we will have a panel with Myra Colis from the MABIKAS foundation focusing on preserving indigenous knowledge systems, and filmmaker Som Supaparinya, moderated by Chihiro Geuzebroek from the decolonial activist network Aralez.
PROGRAM of CAVIA Amsterdam I
Friday 11.04.2025
20:30 - 20:35 Intro (5’)
20:35 - 21:50 Screening
21:50 End
TICKETS
€3,- / Cineville card free
It’s not possible to make reservations. Tickets can be bought at the bar half an hour before the film starts.
CAVIA
PROGRAM of CAVIA Amsterdam II
Friday 18.04.2025
19:30 - 19:35 Intro (5’)
19:35 - 20:35 Screening
20:35 - 21:10 Panel talk
21:10 End
TICKETS
€3,- / Cineville card free
It’s not possible to make reservations. Tickets can be bought at the bar half an hour before the film starts.
CAVIA
ABOUT
Participators
Trash Skeleton (she/her) is a writer and theater director who pulls from her activism, trans life experience and complex ethic heritage to open herself up to the world. Her writing is intimate and absurd as she delivers shock treatments of care to her readers and audience.
Myra Colis is an Indigenous Igorot from the Global South with expertise in Artificial Intelligence (AI) and a Master’s in International Technology Law acquired here in the Global North. As an advocate for AI ethics and governance, community leader, and founding chairperson of MABIKAs Foundation-The Netherlands, she is dedicated to integrating Indigenous perspectives into movements for decolonization, regeneration, sustainability, and social impact. Most recently, she introduced
INAIYAN, a pioneering initiative focused on integrating Indigenous principles into AI systems. Through partnerships, collaborative research, and speaking engagements, she is committed to bridging traditional knowledge with modern innovations as part of a broader effort to dismantle systemic injustices and shape sustainable futures.
Som Supaparinya lives and works in Chiang Mai, Thailand. She is a winner of the Han Nefkens Foundation - SouthEastAsian Video Art Production Grant 2024. Studied Painting in Thailand and Media Arts in Germany. Her works encompass a wide variety of mediums such as installation, objects, still and moving images which have been produced mainly with a documentarian and experimentation approach. The works focus on the impact of human activities on other humans and landscape through political, historical, and literary lenses. Her works are stories on noodle cultures, the change of the riverscapes, cityscapes, routes, electricity generation, wars, resistance sites and banned books.
Chihiro Geuzebroek is interested in (her)stories told by lesser known agents of change that inspire in system change struggles and that push the envelope for post-capitalist realities. Chihiro is known for deep-dives and giving people homework of books to read. Chihiro invests in collaborations and is most happy when she makes protestmusic with others. Besides her primary muscle in decolonial discourse in climate politics and environmental justice, Geuzebroek is excited about music, reading and peace fiction. She prefers to treat the domain of climate justice often tread upon with dry information with radical imagination and focuses on healing practices that are both physical, psychological, spiritual and collective. Her work aims to enable journeys of overcoming intergenerational trauma, healing economic-political wounds and a rediscovery of wholesome freedoms.
Curators
Akvilė Šlėgerytė is a cultural producer and art worker, based in Rotterdam. She holds BA in Art History and Theory from Vilnius Academy of Arts (Lithuania), and MA in Arts and Society from Utrecht University. Interested in exploring how public programming, gatherings and exhibitions can facilitate alternative ways for knowledge accumulation and production, as well as to create possible threshold spaces for radical education and care, she has curated and produced programmes for Asian Movie Night, (AV17) gallery, participated in De Appel Curatorial Summer school (2024), and others.
HSIEH I-Hsuan is a film curator and writer based in Amsterdam and Taipei. She has programmed and served on selection committees for various film festivals, including Women Make Waves (TW), Singapore Film Festival, TIDF (TW), and Go Short (NL). With an anthropological background, she views cinematic practices as relational socio-technical processes fostering collective agency. She also co-founded Limestone Books in Maastricht, and co-organizes a collective called
dot to dot, for which they learn from archipelagic alliances to shape the world via forms of storytelling.
The Green Office is a student-run platform that exists to foster a community of motivated students from all disciplines with an interest in sustainability to help us achieve our goals. Through our core team and dedicated members, we channel the efforts of students, staff, and partner organisations to influence policy at the university and wider Amsterdam community. We support an intersectional approach to sustainability that calls for systemic change in favour of the people and the planet. This involves both a critical approach to working with our institution and a collaborative one to see what is achievable and if it meets the demands of the students.
Supported by
University of Amsterdam Central Diversity Office, University of Amsterdam Humanities Faculty Student Council,
Het Cultuurfonds
The Woman Carrying the Prey
揹獵物的女人
Rngrang Hungul 余欣蘭｜2022｜Taiwan｜69min｜Truku, Mandarin with EN subs
![]()
2023 LA Independent Women Film Awards
This film focuses on Heydi Mijung, the sole female hunter in the Truku tribe. She upholds the ancestral tradition of 'Gaya' and practices the traditional hunting skills of the Truku to maintain the balance of the entire forest with her hunting methods. As winter approaches, Heydi returns to the old hunting grounds with her nephew to retrace the path and inspect the new hunting trails. The film portrays the perseverance and strength of women and delves into the intricate relationship between humans, animals, and ecology. This interdependence gradually develops through the daily practices of the female hunter. Indigenous hunter culture offers a fresh perspective on our connection with nature.
YU Hsin-lan, originally from the Truku tribe, bears the ethnic name
Rngrang Hungul, where Rngrang is her first name, and Hungul is her father's. Rngrang's work is grounded in extensive visual fieldwork and focuses on contemporary issues indigenous people face. She excels in transforming everyday situations and intimate personal experiences of the tribe into creative elements from a woman's perspective, leading discussions on the positioning and methods of reconnecting individuals with traditional culture in contemporary society. Her recent works include "Mgaluk Dowmung, Connecting with Dowmung," "Woman the Hunter," "The Woman Carrying the Prey," and "Mountain Keepers.
The Land in the Middle of the Pond
水池中的土地
Anchi LIN (Ciwas Tahos) 林安琪｜2020｜Taiwan｜08’23min｜Atayal with EN subs
![]()
The Land in the Middle of the Pond references the forced displacement of the Atayal Qara community in the 1950s for the construction of the Shimen Reservoir, now Northern Taiwan's primary water source. An elder from the displaced Atayal Qara community narrates their story in the video, highlighting the impact of the diaspora on her people. It was filmed at the Shimen Reservoir during a drought. The artist is shown tracing the veins and blood vessels on her limbs, symbolizing her ancestral bloodline and identity. The film also portrays Ciwas and other Atayal women reenacting the Atayal ritual of name exchange, connecting Ciwas with her ancestral land and affirming her identity across time.
"I took so many risks of making this performance in this highly dangerous space (the reservoir), but still there are spaces that I would like to acknowledge beneath the water."
Anchi LIN, her Atayal tribal name:
Ciwas Tahos. She is a visual artist of Taiwanese Atayal/ Itaṟal and Hō-ló descent; she is based between Taipei (TW) and Naarm / Melbourne (AU). Ciwas completed an MFA in New Media Art at Taipei National University of the Arts (TW) and a BFA in Visual Art at Simon Fraser University (CA). Her body-centred practice weaves the Indigenous Atayal worldview through performance, moving images, cyberspace, ceramics, and kinetic installation to claim a self-determined queer space, her work is an exploration of cultural and gender identity, using her body as a medium to trace linguistic and cultural experiences of displacement to seek out new forms of understanding. Her recent exhibitions include the Hawai'i Triennale 2025 in the Hawaiian Kingdom, the 16th Sharjah Biennale in UAE.
Everything Alive Becomes Quiet
tɯ:nar tɯ:n:aq ihijbit
Sata Taas collective｜2023｜Netherlands｜09’19min｜sakha with EN subs
![]()
Throughout Siberia’s history, dating back to Russia's invasion and the forced assimilation of the region in the 16th and 17th centuries, its vast natural resources have been continuously exploited by central authorities—whether Muscovite, Imperial, Soviet, or post-Soviet. Often referred to as a “resource frontier,” Siberia's treasures—from the first sable pelts to the latest oil wells—have been relentlessly hunted, mined, extracted, and transported westward or exported to global markets. This extraction has not only enriched the central metropole but has also led to the degradation of the land and the destruction of the Indigenous communities tied to it.
The video draws poignant parallels between the melting of permafrost, the loss of biodiversity, and the Indigenous understanding of the body as an extension of the land. While dominant power structures continue to systematically erase the knowledge, culture, and identities bound to the land, there is a pressing need to create space for the remembrance and reaffirmation of ancestral wisdom.
Sata Taas Collective is a non-tangible network of narratives, memories, dreams, speculative fictions, affects, sensibilities and thoughts. The collective is a constellation of 4 Indigenous artists and cultural practitioners from the Sakha Sire and centers around the idea of revitalizing Indigenous ontologies of relationality. Unfolding in the form of temporal-spatial encounters of communal learning, healing, and worlding, sata taas seeks to nurture kinship, solidarity, and exchange among communities beyond the politics of nation-state borders.
The Rivers They Don’t See
แม่น้ำที่เขาไม่เห็น
Som Supaparinya｜2024｜Thailand｜29’29min｜Thai with EN subs
![]()
The Rivers They Don’t See takes viewers on a poignant journey along the Salween River, tracing the Thailand-Myanmar border, and continuing through the Ping River and Chao Phraya River into the Gulf of Thailand. This semi-documentary film unveils the intimate lives of farmers, fishers, villagers, and workers—people whose daily existence is intertwined with the waterways. Yet, these same rivers are rapidly changing, threatening their homes and livelihoods. Through sweeping landscapes and personal stories, the film explores the hidden impacts of political and economic forces that have shaped, and continue to reshape the land. The narrative goes beyond the visible: it uncovers the complex, often invisible forces of environmental degradation, economic pressures, and political manipulation that ripple through both nature and society. As the landscapes change, so too do the cultures, ecosystems, and futures of the people and creatures who call these places home.
Som Supaparinya lives and works in Chiang Mai, Thailand. She is a winner of the Han Nefkens Foundation - SouthEastAsian Video Art Production Grant 2024. Studied Painting in Thailand and Media Arts in Germany. Her works encompass a wide variety of mediums such as installation, objects, still and moving images which have been produced mainly with a documentarian and experimentation approach. The works focus on the impact of human activities on other humans and landscape through political, historical, and literary lenses. Her works are stories on noodle cultures, the change of the riverscapes, cityscapes, routes, electricity generation, wars, resistance sites and banned books.
Metamorphosis' Chantings Or That Time When I Incarnated as Porpoise
Cantos da Metamorfose Ou Aquela Vez Em Que Eu Encarnei Como Boto
Ainá Xisto｜2024｜Portugal, Brazil, Spain｜11’25min｜Portuguese with EN subs
![]()
2024 Cinéma du Réel
2024 Ann Arbor Film Festival
2024 Curtas Vila do Conde - International Film Festival
Driven by will to give life and realizing the hinder it’s inevitable to face the spiral of time. An abyssal record guided by more-than-human relations through internal landscapes and authentic conversations to reestablish the flow of Metamorphosis: leaping from being to being like new ways of saying I. A chant to unfold destiny from immemorial times. Rupestre rituals intertwine different forces incorporated into the experience of the image to sculpt portals and attract the feeling of the latency of desire-colors, shapes and sounds hold the ether of creation to which life is determined. In Metamorphosis' Chantings Or That Time When I Incarnated as Porpoise, we sing to remember and embody what is already about to happen.
Ainá Xisto lives and works between Portugal and Brazil. Filmmaker and visual artist, had her Master’s degree in Cinema by the Portuguese Catholic University School of Arts. Ainá creations, drawings and visions are psychomagical instruments and updates to immemorial connections. Sharing pedagogies and imaginaries of transmutation, health and creativity, her works overflow from the intimate with the essence of the inexplicable, a trance-manifest of the future that already is, pregnant with different ways of living inside and outside time, in a configuration of multidisciplinary media connected through a cosmic rhizome, under symbiotic perspectives.
