FILM CATEGORIES

2
The Bruised Body of the Planet
7 films
The Bruised Body of the Planet

CATEGORY DESCRIPTION

The Bruised Body of the Planet


Studies show that, when talking about the environment, people will most often think about their surroundings. And so, the environment will usually include our families, our neighbours, the community we belong to, and the systems we operate within, in all their tangible, physical aspects, but also in their social ones. Regardless of what this notion might mean from individual to individual, it is clear that, somewhere beyond an invisible line drawn by our own subjective perception based on what we personally find relevant, this ‘environment’ ends and so does the responsibility we take for it. After a certain point, IT, the environment, no longer surrounds me, but the others.

 

But on a round planet like ours, where the air currents return to where they emerge from, where storms blow over entire continents and unsteady waters merge and flow into each other, in a world where everything is dependent on something else, so much so that you cannot tell where one begins and the other ends, our wish to draw lines is difficult to satisfy, and the ‘portion’ of environment that belongs to each of us is, in fact, hard to determine.

 

In the films of this section filmmakers have dared to point their cameras at what surrounds us and capture the various ways in which we interact with the surroundings that sustain us. From the immaculate white of the Antarctic glaciers to the sun-drenched plains of Ethiopia, we are taken on a journey around the world through landscapes so diverse, which, no matter how wild they may seem, bear the signs of human intervention, sometimes like an open wound, other times like a scar. From here emerge plenty of perspectives on ecology. Films such as “White on White” and “From the Wild Sea” tackle issues that have been more intensely publicized, such as global warming or endangered species. Other films invite reflections on nature that are hard to define specifically. In “Taming the Garden” ecology is interlinked with the political, turning the uprooting of trees and deforestation into a metaphor for social status and power play. “Veins of the Amazon” takes us along the Amazon river on a cargo ship, which allows us to observe the relationship between man and nature in all its forms - from the more transactional ones, concerned with survival and exploitation, to the more subtle forms, concerned with symbiosis and a peaceful coexistence.

 

From seemingly exotic lands, the camera gravitates towards familiar, urban, surroundings, getting uncomfortably close to us and observing from the doorways of our homes the effects of urbanization and industrialization in “Rift Finfinnee” and the human and non-human victims that war leaves behind in “A.I. at War,” as well as the grave consequences that acts of corruption impose on the health of both the environment and people themselves in the ingenious “Splinters.”

  

Altogether, despite having been made in different places and exhibiting the particular touches of different authors, the films in this section remind us all one thing: we are not living in a sterile laboratory and our personal, social, and economic problems cannot be truly separated from the problems of the environment. We are all living in the same world, which is taking care of us and which, in return, we should also be taking care of.



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