MY LENS, MY LAND
U.S.A | Short Documentary | 2024 | 24 mins | Tibetan with English Subtitles
About The Film
Daze, a Tibetan nomad, transformed his life with a camera. Documenting traditions and threats to the homeland, his philosophical films become a call to action, a lifeline for plateau creatures.
Watch My Lens, My Land
For educational distribution or institutional access, please contact RAI Film.
Awards | Selections | Screenings
German International Ethnographic Film Festival (GIEFF) 2026, Göttingen, Germany - Official Selection Upcoming Screening: Wednesday, May 13, 2026
The 44th Nordic Anthropological Film Association (NAFA) International Ethnographic Film Festival 2025, Museum of Macedonia, Skopje, North Macedonia -Official Selection
The 4th edition of Incontri con il Cinema Buddhista (Encounters with Buddhist Cinema) 2025, Nuovo Cinema Aquila, Rome, Italy - Official Selection
Royal Anthropological Institute Film Festival 2025, Watershed, Bristol, UK - Official Selection: “Dis/placements: Currents of Transition. Local rhythms that disrupt and live in motion amid the impacts of climate and technological change.”
Asian Movie Night Spring 2025, Kino Rotterdam, Netherlands -Screening: “RIPPLES, ECHOES AND WHAT IF THE EARTH WHISPERS”
Colorado Environmental Film Festival 2025, USA -Official Selection
Prague Film Awards 2025, Czech Republic - Finalist (Best Student Documentary)
The 14th “光影纪年“ 中国纪录片学院奖 China Documentary Academy Awards 2024, China – Official Selection
Beijing International Short Film Festival 2024, the UCCA Center for Contemporary Art, China – Official Selection & Screening: "Future Ethics, Return: Geopolitics in Dialogue with Ecology"
Anchorage International Film Festival 2024, USA -Special Jury Award (Outstanding International Short Documentary)
Toronto International Women Film Festival, 21st Seasonal Fest 2024, Canada - Best Short Documentary
The 2024 BAFTA Student Film Awards, UK – Documentary Longlist
NYU News Doc Film Festival 2024, USA - Screening
Director's Statement
As human expansion and climate change shrink natural habitats, the land struggles to rejuvenate. Amidst this fragility, Daze’s camera, a rare presence on the grassland, does more than document; it sparks reflection and quiet action.
The Tibetan nomadic philosophy of living in harmony with all beings, combined with the camera’s power to inspire change, moved me to pick up my own camera. Not just to witness, but to join the conversation between people, land, and the future.
Story Description
My Lens, My Land unfolds in the high grasslands of Amdo, Tibet, at 4,300 meters above sea level. Through observational scenes and Daze’s intimate narration, the film follows Daze and his family, whose daily life is closely attuned to the rhythms of nature and Buddhist belief.
As grassland degradation accelerates, linked in part to the proliferation of pikas and decades of government intervention, Daze turns his camera toward the changing land. The act of filming gradually transforms his understanding of ecological imbalance and his place within it. Moving between cycles of transhumance, shifting terrain, and conversations with his daughter, the film traces how Daze’s filmmaking becomes a catalyst for collective action in response to ecological decline.
Rather than offering resolution, My Lens, My Land observes a community negotiating uncertainty between land, livelihood, and the generations to come.
Featuring
Daze
He has been a member of the Nyantsog Conservation Association since 2010. After studying filmmaking with From Our Eyes, a nonprofit based in Yunnan, China, he founded his own nonprofit film group, Nyanmecang, in 2014. The name, meaning Nyanbo Yutse Mountain, Eyes, and Family, reflects his intimate bond with the land, observation, and community.
Through films like Yak Dung, Pika, and Homeland, Daze has created a body of work that bridges ecological observation with quiet resistance, echoing from the Tibetan Plateau to audiences around the world. His films are often shot with minimal means but deep insight, revealing the resilience of land and people alike.
Daze and his team rely on public donations to continue their grassroots filmmaking and conservation efforts. They are currently applying for a new round of funding. If you’re interested in supporting their work, feel free to contact me.
Family Members
Dorjee Tso, Kawa Tso, Dawa Tsering, Galang Dawa
Credits
Producer/Director Ke Chen
Cinematographer/Editor Ke Chen
Translators Tenzin Dhargyal, Kawa Tso, Jigme Dorjee, Thupa, Tashi Dhondup, Youdon Kyi, Tsewang Gyal, Ugyen Namgyal
Local Referer Bing Lyu, Tenzin Dhargyal
Executive Producer Marcia Rock
Story Consultant Marcia Rock, Shimon Dotan
Editing Consultant Marcia Rock, Aviva Slesin, Shimon Dotan
Composer Yilun Song
Ending Song Singer Dorjee Tso
Poster Designer Yaoting Wang
Behind the scene (To Be Continued)
I lived with Daze’s family for three months—first in the summer of 2023, and then again in early spring 2024. From the beginning, they treated me not as a guest, but as someone who belonged. There was no formal moment of arrival, just a quiet shift: I was folded into their daily life, into meals, into routines, into silence.
Even after I returned to New York for school, they kept reaching out, short messages asking how my days were, whether I was eating well, and whether it was cold. These small gestures carried a kind of care that made the distance feel less absolute.
We never shared a common language. Most days, we understood each other through gestures, through repetition, through simply being present. When words were needed, they came through others. Sometimes Kawa Tso, Daze’s daughter, would sit between us, translating from Tibetan to Mandarin with the seriousness of a child taking on something important. Other times, it was relatives passing through, one who travels south each year for seasonal work, another who is a monk. Even people outside the family became part of this fragile network of understanding: staff at a small local hotel where I would occasionally go to recharge my batteries, or friends I met along the way.
Kawa Tso is growing up between languages. She studies Tibetan and Mandarin at school, and when I last saw her in 2024, she had just started learning English. I often think about the different directions her voice might travel in the future.
On the summer pasture, there is phone signal only during the day, when the sunlight is strong enough to power the solar-run signal tower. As soon as the sun sets behind the mountains, the electricity fades and the phones go quiet. On the winter pasture, which lies much closer to town, the signal stays steady and daily life becomes more convenient. But out there, convenience is never what matters most.