A gripping film captures the fraught contests, lonely outposts and human toll of the Philippines’ struggle to assert sovereignty against China

Director Baby Ruth Villarama and her crew board an assortment of maritime vessels to record the ongoing strife and its consequences between the Philippines and China over control of what has recently been named the West Philippine Sea (WPS), formerly part of the South China Sea. This area, which is seen by just about everyone (apart from the People’s Republic of China) as part of the Philippines’ exclusive economic zone, has been increasingly infiltrated by Chinese boats, some of them fishing vessels but mostly Chinese coast guard vessels that have harassed, rammed and attempted to board Filipino boats as part of the dispute over sovereignty in the area. Some of the footage seen here is pretty tense, although mostly it’s a game of bluster at sea, with officers on different vessels exchanging puffed-chest speeches peppered with legalese over short-wave radios, a kind of airwave diplomacy.

The film’s title refers to the ongoing efforts by the Filipino army to deliver foodstuffs to some of the tiny islands in the WPS where soldiers hold the line, literally, for long lonely stretches. And when we say “islands”, we’re talking about dollops of sand in shallow waters no bigger than a football pitch, accessible only by inflatable motorboats travelling at frightening speeds. They are certainly scary for the poor baby goats, loaded along with canned food and other supplies that we see scrambling for better footholds as the boats go zooming across the waves. Elsewhere, we follow fishers living in the more populated Scarborough Shoal who complain they are catching less due to Chinese fishing boats in the area.

This film set in North Macedonia follows a farming family trying to survive in a cockle-warming story

Like director Tamara Kotevska’s previous feature Honeyland (which she co-directed with Ljubomir Stefanov), this sly, delightful film is neither a pure documentary nor a work of fiction. Instead, this blends folk tale and mud-caked vérité to tell the story of a contemporary farming family, the Conevs, in economically depressed North Macedonia.

Sixtysomething paterfamilias Nikola and his wife, Jana, have been growing watermelons, tomatoes and tobacco on the family land for years. However, the wholesale prices have recently dropped through the soil, prompting a mini riot by irate agricultural workers who take out their frustrations by destroying their own crops. Nikola and Jana’s daughter Ana decides to emigrate to Germany with her husband, taking their preschool-aged daughter with them, only to discover that most of their wages will be eaten up by childcare fees. They implore Jana to come out and be their childminder, leaving Nikola to try to sell the farmland for a pittance and find a job at a local landfill. Melancholy video-calls to the family abroad underscore his loneliness, but at least he has old mucker Ilija to talk to and share the odd bottle of hooch.