In the competition show, “Landscapes Lost and Found,” short films take the scenic route, exploring cities and countries across the globe. Eight films total, each uses a different approach to describe the venues they center on.

The film titled “57,600 secondi di notte e luce invisibili,” or “57,600 Seconds of Invisible Night and Light,” directed by Flatform Flatform, holds the camera at a single position for the entirety of the movie. The film, which is set in Italy, transforms from day to night and back again several times in the span of five minutes. People are shown in continuous action, as if the time has no impact. This interesting concept proved to be thought provoking and captures the viewer’s attention.

A second Flatform Flatform film called “Domentica 6 April 3 ore 11:42,” is shot from above several farm houses in Italy’s countryside and focuses on the relationship of the inhabitants to their environment. Imitating the concept of the first, the camera never moves, encompassing the entire scene from its view in the air. Male and female narrators speak in Italian while English subtitles flash quickly at the bottom of the screen. Though the view is breathtaking, their quick words make the plot of the film hard to keep up with as the translations disappear faster than viewers can read. The script feels rushed and ultimately seems to leave the audience struggling for something to grab on to.

Jim Bizzocchi’s film “Cycle,” has quite the opposite effect. Focusing on Canadian scenery, it becomes a decidedly long, drawn-out piece. Though the images of vast mountain ranges and babbling brooks are beautiful, they become somewhat monotonous as the film wears on. Transitions between shots are, however, seamless, as water turned to ice and ice to snow. But by the time the 20-minute film ends, it feels as though the audience has gone through the “cycle” one too many times.

“175,” directed by David Gutierrz Camps, is a unique film that contrasts the slow-moving Canadian scenes of the previous movie with its fast-paced take on the New York City subway. Shot in black and white, “175” makes use of the reflections and views from subway windows to depict the ever-moving, stimulating life of a New Yorker. The only downfall is a vague feeling of motion sickness throughout.

Also shot in black and white is Laura Kraning’s “Vineland.” The film is shot from the only remaining drive-in theater in Los Angeles. With apocalyptic movies playing in the background, the film has a sense of desolation and finality. It is unclear, however, exactly what is ending or when. Perhaps it pays homage to an era before the immense amount of technological advances seen today.

Patricia McInroy’s “Found: Nothing Missing,” turns the tone comical with a humorous take on lost-and-found signs. Still frames of ads posted by pet owners flash on the screen as a witty narrative plays behind them, poking fun at the nature of the flyers. The film is smart and hilarious, with a message emphasizing the nature of what it is to lose and look.

The final two films focus on loss of a different kind. “Chicago Corner,” directed by Bill Brown, focuses on when a home becomes just space for rent. The premise is interesting but does not feel as though it has the chance to be developed enough for the audience to make a lasting connection. Diane Nerwen’s “Open House,” on the other hand, is a lengthy film describing a similar idea. She focuses on the transformation of a formerly humble Williamsburg, Brooklyn, into a chic area of residence for upper-class buyers. Using narratives from former homeowners in the area, viewers are taken through the process of removal, vacancy, construction and replacement. The film is poignant and highlights the change from what was once a town with immense character, into what has become a sterile, “yuppy”-filled collection of properties.

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