Category Archives: Eco-doc

Tip-toe through the P-patch: No Impact Man ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 26, 2009)

“Yeah, but I mean, I would never give up my electric blanket, Andre. I mean, because New York is cold in the winter. I mean, our apartment is cold! It’s a difficult environment. I mean, our life is tough enough as it is. I’m not looking for ways to get rid of a few things that provide relief and comfort.” –Wallace Shawn, from My Dinner with Andre.

I don’t know about you, but I’m with Wally. And Kermit the Frog. Because, dammit, it ain’t easy being green. Oh, I suppose I feel pretty good about myself when I toss the empty cereal box (made from post-consumer fibers and printed in soy ink) into the recycling bin, bring my reusable bag to the farmer’s market, or screw in a low-wattage compact fluorescent bulb, but does that mean I’m doing my part to reduce mankind’s carbon footprint? After watching the new eco-doc, No Impact Man, it would seem that my crimes against Mother Gaia are running a close 2nd to those of Capt. Hazelwood.

Filmmakers Laura Gabbert and Justin Schein document the efforts of blogger/author Colin Beavan to spend an entire year making as little environmental impact as possible. Operating under the supposition that there are more than a few self proclaimed “environmentally conscious” wags out there who don’t  practice what they preach (and humbly considering himself to be among them) Beavan set out to put his mulch where his mouth is.

Beavan decided that if he was really going to go for it, he would have to convince his dazzling urbanite wife, Business Week writer Michelle Conlin (a classic New York neurotic) and their toddler to join in as well. So how does a family of Manhattanites pull this off without leaving their metropolitan cocoon? This paradox provides plenty of rich narrative compost for the filmmakers, and they cultivate it well.

Any food that the vegetarian family were to consume in the course of the experiment would have to come from local growers (although, dwelling in the heart of New York City, they had to fudge the definition of “local” a tad). Much to Michelle’s chagrin, this meant no more Starbucks (the inevitable scenes dealing with her caffeine withdrawal angst, while initially amusing, begin to feel a little stagy).

Electricity was right out, so they dutifully shut down the breakers in their apartment. Automated transportation was also nixed, only walking and biking allowed (elevators were also verboten). And lastly, they make what is arguably the ultimate sacrifice: no material consumption (during a thrift store visit, Michelle gazes wistfully at a used Marc Jacobs bag; the look on her face speaks volumes about the twisted pathos of consumer culture). When Beavan announces that toilet paper is off the list, the, erm, shit really hits the fan.

Despite the obvious “Dah-link I love you, but give me Park Avenue!” parallels, it’s not exactly Green Acres; after all, this is a serious-minded documentary, not just going for the quick yuck. In fact, one of the more fascinating aspects of the film is its exploration of the outright hatred that Beavan receives from some quarters.

In one scene, he mopes at his laptop, so befuddled and browbeaten by all the negative comments on his blog that he’s ready to just throw in the towel on the whole project. Ironically, some of his detractors accuse him of being the very creature that he set out to prove to himself that he wasn’t-one of the hypocritical “green fakers”.

Even one of his consultants, an urban gardening expert, questions his sincerity. He proffers that Beavan’s wife writes for Business Week, “…for which millions of trees are cut down on a regular basis in order to promote the thoroughly fallacious propaganda that American corporate capitalism is good for the people.” He’s only getting warmed up. He concludes: “If it’s your contention that it evens out because she doesn’t take the elevator in your 5th Avenue co-op…I have to say you’re either dishonest, or delusional.”  Ouch!

For me, the most pragmatic takeaway from the film stems from one of Beavan’s more thoughtful observations. Perhaps the point is “…not about using as little as we can possibly use…but to find a way to get what you need, in a sustainable way.” The major question that looms is: why are some people so threatened by the very idea of “thinking green”? Beavan offers that perhaps it is “…the idea of deprivation that scares people the most” – which of course brings us back full circle to Wally’s lament from My Dinner with Andre that I quoted at the top of the post.

Short of chucking it all and joining an Amish enclave, I think it’s possible to be “green” and enjoy some comforts of modern technology without feeling guilty about being alive in the 21st Century. For Wally, it’s the idea of losing the use of his electric blanket. For me, it would be my DVD player. And my DVD collection. OK, and my cable service, and my DVR. I will happily sort out all my garbage, buy locally (when feasible) and avoid using my vehicle whenever practical, but you’ll only get my Universal Remote…when you pry it from my cold, dead hands.

SIFF 2007: The Planet ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 30, 2007)

https://i0.wp.com/images.boomsbeat.com/data/images/full/7330/earth_2-jpg.jpg?resize=474%2C276

This week we’re looking at The Planet, a powerful new Scandinavian documentary. The “planet” in question would be the Earth. The issue would be how we are methodically destroying it. Now, I know what you’re flashing on (and it has something to do with a former VP, PowerPoint presentations and a Melissa Etheridge song, right?).

Yes, directors Johan Soderberg and Michael Stenberg do trod upon much of the same ground that was covered in An Inconvenient Truth, but speaking from a purely cinematic viewpoint, I would have to say they execute their message in a less prosaic, more attention-grabbing manner. (Before I get jumped in an alley, let me say that I would recommend An Inconvenient Truth to strangers on the street, it is an important film, and Al Gore is a sincere and passionate crusader, but there is something about the man’s languid drawl that lulls me into a drowsy state of alpha. But that’s my personal problem.)

“The Planet” appears to take some visual inspiration from Godfrey Reggio’s classic observation on the global environmental zeitgeist, Koyaanisqatsi and mixes it up with sobering commentary from environmentalists, scientists and academics. The visuals are stunning, yet also distressing. Zebras and gazelles graze against the backdrop of a modern urban skyline, whilst a renowned wildlife photographer reminds us in voice-over that all those documentaries depicting boundless expanses of habitat untouched by human encroachment are just so much puerile fantasy. Kind of takes all the joy out of watching Planet Earth on Discovery HD Theater, doesn’t it?

One of the more chilling observations comes from geography professor Jared Diamond, who makes a convincing case citing Easter Island’s man-made and irretrievable ecological devastation as a microcosm of what is now occurring to the planet as a whole.

And it gets even better (er-don’t ask me about what could be happening as early as 2010).

The interviewees are all insightful, and they certainly pull no punches (viewing this film may be traumatic for depressives and those who have empathetic tendencies). In a nutshell? If we don’t change our present course, we’re fucked. And it will not be cinematic.

The scouring of the shire: Manufactured Landscapes ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 28, 2007)

https://zeitgeistfilms.com/image/film-photo/id/153/photo/1045/class/full

After viewing Canadian documentary filmmaker Jennifer Baichwal’s Manufactured Landscapes, you may not be able to ever look at a “Made in China” product label again without envisioning the film’s unforgettable opening scene.

In a tracking shot that would make Orson Welles proud, Baichwal’s camera dollies along the factory floor of a surrealistically huge Chinese manufacturing plant, passing endless rows of work benches, manned by thousands of employees. The shot dissolves into a striking, beautifully composed photograph of the entire milieu. The spectacle of myriad factory drones in their bright yellow uniforms, as captured in the photo, resembles a “human beehive” in every sense of the word. This is how we are introduced to the photography of Edward Burtynsky, the subject of Baichwal’s documentary.

Baichwal follows Burtynsky as he travels through China photographing the devastating impact of that country’s industrial revolution upon its environment. Under Mao, China was transformed into a nation 90% agrarian and 10% urban; in a relatively short period of time, the current regime has facilitated a near flip-flop of that ratio. Through Burtynsky’s lens, it quickly becomes apparent that there is a substantial price to pay for such frenetically paced “progress” (especially after a visit to the Three Gorges Dam project, which has required the dismantlement and obliteration of 13 cities, brick by brick).

Burtynsky’s eye discerns a kind of terrible beauty in the wake of the profound and irreversible human imprint incurred by accelerated “modernization”. As captured by Burtynsky’s camera, strip-mined vistas recall the stark desolation of NASA photos sent from the Martian surface; mountains of “e-waste” dumped in a vast Chinese landfill take on a kind of almost gothic, cyber-punk dreamscape. The photographs begin to play like a scroll through Google Earth images as reinterpreted by Jackson Pollock or M.C. Escher.

Burtynsky states in the film that his work is “apolitical”. Despite her subject’s disclaimer, however, director Baichwal sneaks in a point of view here and there. In one scene, Burtynsky comes up against some reticent company officials, who attempt to convince him that the “light is bad” for photos. When that fails to sway, they ask the filmmakers to turn their equipment off. They pretend to comply, surreptitiously keeping the camera going anyway as the officials then admit that they are afraid that any photos depicting an environmental impact might give anyone who would view them the “wrong impression”.

This is a worthwhile film, with a unique, slightly more artistic bent than the most of the recent spate of environmentally-themed, “sky is falling” docs (I am quite cognizant that the sky, indeed, is falling, but enough with the lecturing already.)