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Movies show man’s imprint on Earth’s environment

Film  movies
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Cinema can play a pivotal role in helping reclaim the environment, and this has made many a filmmaker rise to the cause and attempt to transform society, and the world, into a better place. اضافة اعلان

Films about Humans and Our Planet is an initiative that will see three movies screened tomorrow by the Royal Film Commission the event is organized in cooperation with Greener Screen and with the support of Abdul Hameed Shoman Foundation. The filmmakers capture the human effect on and attempts to protect the environment and how humanity can sometimes be very harmful to our planet.


The filmmakers capture the human effect on and attempts to protect the environment and how humanity can sometimes be very harmful to our planet. (Photos: Handouts from the Royal Film Commission) 
Kilo 64 by Amir El-Shenawy
In 60 minutes, we witness the journey of an ambitious pharmacy graduate who shifts his career and starts a farming business at Kilo 64 off Cairo-Alexandria desert road.

Moved by the spirit of the January 25 Revolution, Wael El-Shenawy, 24, founds an agriculture startup with the aim of making a social impact, but not everything goes as planned.

Kilo 64 documents Shenawy’s difficult journey on the road of self-employment. A graduate of the Faculty of Pharmacy, he decides to leave the chemical laboratories and go to Kilo 64 to follow his dream, which he discovered late in his last year of college. He returns to his father’s old land, which he had bought in the mid-1990s for the purpose of reclamation and cultivation, and starts where his father had finished.

Not discouraged by the fact that his father’s project had failed all those years before and by his lack of experience in the field, he embarks, with the help of his parents and friends, on an unexpected journey accompanied, at the beginning, by high hopes, and punctuated throughout by many difficulties.

In the face of those obstacles, it is difficult to predict the end of Shenawy’s journey; what is clear is that the film has been successful in its mission on more than one level, although it needs some scrutiny.

We only know in the middle of events that the film director Amir El-Shenawy is in fact the hero’s brother; this explains what we have seen throughout the first half of the character’s comfort and simplicity in talking to the director, and shows us how we feel about such intimacy, as this is a “family film” so to speak.


Anthropocene: The Human Epoch by Jennifer Baichwal, Edward Burtynsky, and Nicholas de Pencier
Human activities leave a deep and almost irreversible imprint on the geological and climatic history of our planet. The makers of the film traveled the world to collect evidence of this. Based on very high-definition photographic techniques, Anthropogenic: The Human Epoch bears witness to a critical moment for humanity.

At the brilliant intersection of art and science, this film is a fascinating and provocative experience of how our species destroys the Earth.

The trio of Canadian directors invites the viewer on a journey around the planet — six continents, and 20 countries — to see how, all over the world, man has taken over nature, affected it, transformed it, abused it, and ransacked it.

The film talks about climate change, of course, but it also shows the way man aggresses nature, whether in the form of extractions, dumps, extension of cities, or anything that leads to the extinction of animal species. For example, every year, 60 to 100 billion tonns of materials are extracted from the earth, or about 30kg per day, on average, for each inhabitant of the planet.

The main ambiguity lies in the way the three filmmakers sublimate, thanks to their camera, the worst of our humanity. The immensities they fly over resemble bodies or abstract paintings. In reality, the aesthetic point of view is the total provocation. The tone refuses the aggressiveness or the guilt associated with the ecology.

The camera films the monstrosity. It lives in gigantic machines, stuffed with electronics, which ravage the earth in search of precious metals. It is also housed on this Chinese coast that workers raise with concrete tubes to ward off the inevitable rising waters. In short, humanity is drowning in its own stupidity.

The filmmakers observe a very ancient land that humans have destroyed in a few thousand years. Anthropocene then becomes a plea for collective awareness, namely, that everyone can contribute to the survival of the planet.


Sheep Hero by Ton van Zantvoort
In the misty stillness of the moor in the early morning, Stijn leads his herd of sheep. With determined blue eyes and the look of a solitary cowboy, he is one of the last traditional shepherds in the Netherlands.

The simple existence he paradoxically preserves it at the cost of a fierce struggle, year after year, against mechanization, competition, lower subsidies, and administrative pitfalls.

When he loses his main grazing contract, the situation becomes desperate. But the heroic shepherd is not one to give up.

He is a free man clinging to his ideals in a world dominated by the law of the market, transformed, against his will, into a modern entrepreneur who takes with him his wife and sons, but also his parents and a few disciples committed to his cause.

He, thus, becomes an event organizer and restaurateur, intervenes on the radio, and even finds himself with one of his sheep on a television set. The shepherd has become a showman. Is it at the risk of getting lost?

It is this state of permanent struggle which gradually sees the resistance against someone stronger than him transforming into an inner fight that the film sets out to make us feel.


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