Film crews often show up to places with their fancy equipment and their agenda, get what they “need,” decide whether they “found gold” or not, then leave. The creation can take its toll on the subjects, and the travel can take its toll on Earth.

An important aspect of non-extractive storytelling is holding space for our subjects so they feel secure enough to share their true thoughts instead of telling us what we want to hear.

We’re responsible for the message that we send as we distribute this film. A film can continue to be extractive or non-extractive as its message spreads. We hope we’ve created something that promotes non-extractive storytelling and agriculture.

Non-extractive storytelling extends beyond the content. It requires that we are environmentally aware, acknowledging Indigenous lands and lessening our negative impacts on Her.

Expand the bars below to see more about our Con La Madre, de La Madre approach, as well as how we compensated the subjects and Earth along the way.

Producing a film in multiple locations can exhaust our Mother.

We took steps as early as possible in the production to lessen our negative impacts on Her. We approached this film as a project with Mother Earth, of Mother Earth.

We weren’t able to be as kind to Her as we wish we could’ve been. The systems that dictate our base choices — systems that can change — rarely granted us paths that would leave no trace.

Imperfectly, we practiced the following throughout the production:

• Chose locations closer to our crew’s homes in the Midwest, High Plains, and the Bay Area

• Opted for road trips over flying when possible

• Planned efficient productions with limited movements between set-to-set

• Materially limited our plastic and paper usage

• Avoided chain restaurants and sought out local eateries that sourced food as responsibly as possible

• At the end of our production, we calculated our CO2 emissions and paid for carbon offsets that went to soil health initiatives. We know that legitimate carbon offset programs aren’t easy to find, and we also acknowledge how purchasing offsets can easily lead to more behavior that produces emissions. This is why we focused on rethinking and reducing throughout the project more than offsetting.

We are advocates for a future where making a film about La Madre is regenerative, sustainable, non-extractive, and kind, and we understand our role in bringing about that future.

In the Ohlone language Chochenyo, “shuumi” means “gift”.

Below is a description of the Shuumi Land Tax from the Sogorea Te’ Land Trust website:

The Shuumi Land Tax is a voluntary annual contribution that non-Indigenous people living on the Confederated Villages of Lisjan’s territory can make to support the critical work of the Sogorea Te’ Land Trust.

After filming in the Bay Area, we paid our portion of the Shuumi Land Tax in support of rematriation. Visit Sogorea Te’ Land Trust to learn more and to calculate your own shuumi.

This project provided an opportunity for SAFSF to refine its honoraria policy.

We worked together with them to create a generous structure that compensated each organization or individual who contributed to the film in all of its phases.

Participants were compensated for their contributions to pre-production research, introductions, interviews, and feedback along the way, even if they weren’t featured in the final film.

We’ve got deep gratitude for the people who educated us on America’s agricultural system.

We traveled to 10 locations to create this film. Thank you to all the hosts who made our visits safe and meaningful! All of our film locations are listed below in alphabetical order.

• Atlanta, GA

• Auxvasse, MO

• Kansas City, MO

• Mexico, MO

• Mokelumne River Hatchery in Clements, CA

• Nicodemus, KS

• Oakland, CA

• Rosebud Reservation, SD

• Royal Oaks, CA

• Washington D.C.