This triptych brings together three distinct cinematic works that operate as neighboring currents within a shared hydrological and cosmotechnical field. Tianzhuo Chen ’s Ocean Cage moves through mythic and performative registers, staging the ocean as a charged container where ritual, choreography, and constraint collide. Montika Kham-on ’s Afterlives attends to spiritual persistence and transformation; the film proposes afterlife not as elsewhere, but as an ongoing condition - folded into the present through memory, ritual, and apparition. Juan Covelli 's ATRATO follows the river as a living subject and legal entity; the film treats the river as a relational being shaped by extraction, violence, and community struggle, while insisting on riverine knowledge as a guide for ecological justice and collective orientation. This triptych invites viewers to navigate between saltwater and freshwater, ritual and frameworks, myth and material struggle, proposing cinema as a compassing practice attuned to the estuarine zones where worlds converge.