A story about Europe´s largest terrestrial mammal and their potential return in Swedish forests. The audience also meets Rikard, who works at Avesta Visentpark and who shares his inner reflections and hopes regarding the future of the European Bison.
Nestled in the foothills of the Eastern Himalayas, brimming with extraordinary wildlife, are the Dooars (derived from the Sanskrit word “Dooar,” meaning “Door” in English), a series of geographical corridors between India and Bhutan. From the elusive Red panda and the Himalayan salamander to the majestic Golden langur and the iconic Asian One-horned rhinos, this region is home to a breathtaking array of biodiversity. Immerse yourself in some stunning natural behaviour and rarely- seen footages of the lives of these creatures – from majestic Hornbills gliding through the canopy, to the stealthy presence of the King cobra and the delicate fluttering of 300 species of butterflies, this documentary showcases their world in all its natural grandeur.
But there’s more. Amidst this patchwork landscape, the boundary between humans and our more-than-human counterparts blurs, revealing a captivating play of life between man and nature.
This is a wildlife documentary; but it is not a documentary about wildlife alone. It is a compelling narrative that explores the various manifestations of coexistence within this remarkable ecosystem in its purest, most unfiltered form.
That’s the story of Dooars, the untamed passages of the Eastern Himalayas.
For the past 50 years, wildlife documentaries have been an integral part of conservation efforts, helping people connect to the natural world and raising awareness of contentious environmental issues. At the same time, technology, social media, and nearly universal access to cameras, have completely revolutionised the world of content creation. Recent advances in artificial intelligence could soon give way to films produced entirely by AI. What might that mean for the wildlife documentary film industry?
Chloe Warren, a young filmmaker studying Science Communication at the University of Otago in Dunedin, New Zealand, is worried AI might make wildlife filmmaking job obsolete. However, recognizing the fact that wildlife filmmaking does have an ecological impact, she wonders if the technology might actually help reduce disturbance of fragile ecosystems and endangered species, and thus better serve conservation.
Helped by a cast of filmmakers, producers, computer graphics artists, philosophers, computer scientists, and conservationists, the film explores the importance of authenticity, trust, and veracity in wildlife documentaries. As the rise of AI seems more and more inevitable, the audience, filmmakers, and Chloe herself, are forced to consider their own place in the media ecosystem.
Devastated by a decades-long civil war, Mozambique’s Gorongosa National Park suffered immensely, with its top predators nearly wiped out and the ecosystem thrown out of balance. After years of critical restoration work by a dedicated team, the park has reached a pivotal moment. Now, painted wolves, leopards, and hyenas are being reintroduced in a bid to restore this once-pristine place.
Amid the motorbikes, neon cafés, and restless energy of Bali, a quiet revolution glows in the shadows. For three years, Dutch artist Daan Roosegaarde and local Balinese collaborators have worked to bring back a species that had almost disappeared: the firefly. In Indonesia, these small beacons are more than creatures; they are threads of cultural memory, woven into stories, songs, and nights beneath the stars.
This film is an intimate, luminous love story between people and nature. Each flicker in the dark is a signal, a call to a mate, a whisper of longing, a brief reunion in the night. Yet their fading glow carries a warning: we may be the last generation to witness this living light.
Shot under red light invisible to fireflies, the film enters their world without disturbance, offering a rare, unguarded view of their silent courtship. More than a document, it is a poetic call to action, imagining a kind of eco-tourism where human presence restores rather than erodes, and where the balance between people and the natural world can be rebuilt, spark by spark.
Simone is the last Greater Bamboo Lemur in Ranomafana, a protected rainforest in south-east Madagascar.
After a happy start in life, surrounded by family, Simone finds herself alone, as members of her family disappear one by one.
Three years on, and she’s still alone – a social animal, a primate, just like us; how has this isolation affected her mental state?
Through primatologist Dr. Patricia Wright and researcher, Alba Schielen, we witness Simone’s desperate bid for companionship, as she takes a bold step for survival.
At last Simone is happy again, but is all as harmonious as it seems?
In New York’s Metropolitan Capital, a diverse consortium of experts revives a globally rare ecosystem through a habitat management regime informed by scientific discovery and inspired by Native American fire stewardship. Conservation and film teams unite to uncover indigenous voices, illuminating the historical legacy of fire stewardship that defines the landscape. Together, they weave a narrative celebrating their ongoing preservation successes and honoring the deep Indigenous connection shaping the rich history of this unique landscape.
West of Chandpur, where Bangladesh’s earth narrows to a spearpoint, rests Molehead. A defiant triangle of silt and spirit, it meets the sacred confluence of three river-giants—Padma, Meghna, Dakatia—whose currents descend from Himalayan snows to embrace the sea. Its name, Molehead, whispers of stone ramparts raised against the river’s rage: a bulwark between land and the hungry tides.
Here, the soul of the subcontinent pours itself into this living estuary—a torrent of stories older than memory. The world’s second-largest gathering of freshwater, bearing mountains to ocean, carving channels through human dreams. For epochs untold, this water-land has cradled a fragile covenant: where mangroves grip mud like ancient hands, where fish still dance in vanishing currents, where people plant rice in soil salted by storms.
The biologist Hermes Juez carries out an expedition to the Galilea Forest, a historic place near Bogotá, the capital of Colombia, where in 1955 the peasant families that the government bombed excessively for months were sheltered. There he manages to document the great biodiversity guided by Don Henry who will take him to see the churuco monkeys that are in critical danger of extinction. During the expedition the news is heard: a soldier kills a spectacled bear in the Galilee forest. Now the mission is to perform a necropsy on the corpse, bury the bear and prevent it from happening again.
313 is a two minute micro-short inspired by one of many David Attenborough’s quotes, exploring the relevance and legacy of animals on our planet. Decades or centuries down the line when generations past and when and time rewrites itself, will our wild neighbors become victims of vague assumptions, a distant memory, or simply forgotten?
The PSA themed film follows three generations representing three categories of people and their experiences with a subject matter; having seen them in flesh and blood, through documented media and via pop-culture. The story telling structure is layered by color, character, composition, sound, motif and cinema references to decipher. The makers picked a species and imagined a world without them.
Ecoflix is jointly owned by The Ecoflix Foundation US and The Ecoflix Foundation UK. Ecoflix Foundation US is a registered 501(c)(3) in the United States of America. 501(c)(3): C2568417. Registered address: 24730 Long Valley Road, Hidden Hills, LA, CA 91302 USA Ecoflix Foundation UK is a registered charity (number 1200441). Registered address: Aston House, Redburn Road, Newcastle Upon Tyne, NE5 1NB
