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This chapter asks what happens to the conventions of the road movie, and in particular its ethos of resistance, when younger and older generations hit the road together in Nordic films of the 2000s. In raising this question I discuss the use of road movie conventions in two Finnish road movies, the fictional Road North (Mika Kaurismäki, 2012) and the documentary Finnish Blood Swedish Heart (Mika Ronkainen, 2012), which both feature stories of father–son pairings driving together towards a new kind of understanding of their roots. The films offer two ways to see how road movies, in essence, work between the national and the transnational. Road North depicts a road journey inside the borders of Finland. Finnish Blood Swedish Heart, in comparison, is profoundly transnational anyway in its subject matter of a father and son duo driving from Finland to their past in Sweden, but film was also financed as a Finnish–Swedish co-production and, before being awarded as the best Finnish documentary of the year, it received the Dragon award for the best Nordic documentary at the Gothenburg International Film Festival 2013.

What did we see when visiting students at home, with their families? Having formed our accounts of their learning and social identities in one setting, we had to revise our views of many of them when we saw them again at home—with their family, by themselves in their bedrooms, when they went online. As already foreshadowed by the network analysis, home and family was in many ways a more fundamental source of values and sustenance, but it was also a place of emotion. The media—both mass and networked—were heavily implicated in the domestic setting of values, emotions, and identities. Families sought to overcome the perceived threat the media posed to family boundaries by seeking, instead, to use the media as a source of shared understanding, a convivial experience of family solidarity that served further, however, to distance home from school. The array of disconnects that we uncovered between home and school—both chosen and inadvertent—was itself problematic for some young people, and yet these were sufficiently common- place for us to begin also to wonder about those for whom home and school offered consistent and compatible experiences

This chapter examines representations of the sea in several museums with maritime associations, using their engagement with the materiality of the sea to call for greater attention to seaborne mobility as an alternative source of belonging. It discusses three maritime museums in the Mediterranean and asks if they offer ways to go beyond ‘us’ and ‘them’. Together they make statements about the migration crisis in that area.