Creating annual crop type maps for enabling improved food security decision making has remained a challenge in Bhutan. This is in part due to the level of effort required for data collection, technical model development, and reliability of an on-the-ground application. Through focusing on advancing Science, Technology, Engineering, and Mathematics (STEM) in Bhutan, an effort to co-develop a geospatial application known as the Agricultural Classification and Estimation Service (ACES) was created. This paper focuses on the co-development of an Earth observation informed climate smart crop type framework which incorporates both modeling and training sample collection. The ACES web application and subsequent ACES modeling software package enables stakeholders to more readily use Earth observation into their decision making process. Additionally, this paper offers a transparent and replicable approach for addressing and combating remote sensing limitations due to topography and cloud cover, a common problem in Bhutan. Lastly, this approach resulted in a Random Forest “LTE 555” model, from a set of 3,600 possible models, with an overall test Accuracy of 85% and F-1 Score of .88 for 2020. The model was independently validated resulting in an independent accuracy of 83% and F-1 Score of .45 for 2020. The insight into the model perturbation via hyperparameter tuning and input features is key for future practitioners.

Our examination of the documentary film Reencuentros: 2501 migrantes (translated as 2501 Migrants: A Journey) contributes to scholarship connecting film geographies to critical geopolitics, accounting for affect, and attending to documentary films. We augment this literature with the concepts of Indigenous geopolitics and decolonial affect. After an abridged introduction to Yolanda Cruz, the Chatina filmmaker from Oaxaca, Mexico who made Reencuentros, we interpret her film’s representation of transborder communities in Indigenous regions of Oaxaca at the turn of the twenty-first century. We then illustrate the film’s affective logic by detailing what the film moved us—and others—to do in Oklahoma. We conclude by recognizing how friction has stalled the impetus sparked by Yolanda’s film and hoping that this article might incite impulsion anew.