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2019You think the earth is a dead thing
Here's the stronger- than- man you were looking for.
2019125 hectares
on 18 June, I remember, 1983, it wasn’t General de Gaulle’s Appeal of 18 June, but our own.
2016Public Commission,
2014Kamen, the Stones
Urbicide, destruction in Trebinje, as well as in other cities in Bosnia and Herzegovina, started in spring 1992
2011Les Bosquets
The girls, where are they? There’re no girls left here.
2009The Attendants
That's why I say to my daughters, I don't leave the Bosquets, I stay here.
2008The Priest
Pay attention, madam...
2008Confessions d’un Jeune Militant
There’s a book, Stalin, with a green cover.
2008Socialisme ou barbarie
2007The place of Language
Nowadays, attempts are made to standardise the language: to standardise the Gipsy language and its writing.
2006Prvi Deo
Welcome on the courtroom number 1 of the special building in district court of Belgrade
2006Red Star
Many people supported The Red Star, they were called The Valiant Ones
2002Women in black
In the days of crises and wars, parallels are made about women being the equals of warriors
2000The Peasants
We remained friends when Tito was around, when there was only a single party.
2019You think the earth is a dead thing
Here's the stronger- than- man you were looking for.Bananas are only good for boosting cargoThe slave's memory were not talking about the domesticated plants.

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video 16/9, color, sound, 70 min

You Think That the Earth Is a Dead Thing looks at the “global ecological crisis” from the perspective of the island of Martinique. In reflecting on ecology, the film not only raises issues concerning na-ture and damaged ecosystems, but, moreover, focuses on spaces of resistance to the crisis in which women and men acknowledge and act from the historical perspective of colonialism, where ecological struggle and the colonial past are intrinsically linked. It thus examines the ecological and political context in Martinique through encounters with farmers, an ethnopharmacologist, and a local medical herbalist. The context is one of widespread pollution resulting from the intensive use of chlordecone. For over twenty years, the carcinogenic insecticide was used by a small group of descendants of the first colonial slaveholders to settle in the French West Indies, in order to protect the banana plantations that dominate Martinique’s export industry. The resulting pollution has endangered the life of the island’s population and reflects what Martinican political scientist Malcom Ferdinand names in his book Une écologie décoloniale a colonial existence [un habiter colonial]: “More than a constraint imposed by market forces, ecological domination desig-nates nothing less than the imposition of a toxic life.”

The various protagonists of the film explore alternative approaches in the fight against environ-mental destruction using ancestral practices and knowledge. Thus, the portrayal of nature con-stantly shifts: sometimes it appears domesticated and exploited on a massive scale, at other times, contaminated by unseen toxic substances, or, again, as an ally in the struggle for survival.

Production: Sisters production
In association with Arte France-La lucarne
With the support Cnc, Cnap, Fnagp


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