A film by Niko­laus Gey­r­hal­ter.
In Eng­lish, Ger­man, Spa­nish, Ita­li­an, Hun­ga­ri­an with Ger­man sub­tit­les

[Credits] [Ter­mi­ne] [Trai­ler]

A por­trait of the Earth in the Anthropo­ce­ne – at seven loca­ti­ons that humans have trans­for­med on a grand sca­le: Ent­i­re moun­tains being moved in Cali­for­nia, a tun­nel being sli­ced through rock at the Bren­ner Pass, an open-cast mine in Hun­ga­ry, a marb­le quar­ry in Ita­ly, a cop­per mine in Spain, the salt mine used to store radio­ac­ti­ve was­te in Wol­fen­büt­tel and a tar sands land­s­cape in Cana­da. Initi­al­ly shown from abo­ve as abs­tract pain­tings, the­se ter­rains are sub­se­quent­ly explo­red on the ground: The film wea­ves tog­e­ther obser­va­tio­nal foo­ta­ge of machi­nes in ope­ra­ti­on with con­ver­sa­ti­ons with the workers. Along­side state­ments on work pro­ces­ses, envi­ron­men­tal dama­ge and tech­no­lo­gi­cal chan­ge, Erde makes this con­struc­ted world visi­ble in uni­que fashion by sub­t­ly paring it down: the piles of grey mat­ter, hills and moun­tains. The black­ness and the cracks. The san­dy land­s­capes, criss-cros­sed by an array of mecha­ni­cal devices that scut­tle about like cater­pil­lars or worms. The dimen­si­ons are gigan­tic, the pro­por­ti­ons out of con­trol; the world has slip­ped from humanity’s grasp. “The­re is always a big­ger machi­ne, a big­ger engi­ne and when all fails the­re is dyna­mi­te. We always win.” Or do we?


AU 2019, 114 Min.,
Regie, Buch, Kame­ra: Niko­laus Gey­r­hal­ter
Schnitt: Niki Mos­s­böc


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