environment

Gasland

Gasland (Director: Josh Fox): When dir­ector Josh Fox receives a letter from a gas com­pany offering him $100,000 to drill on his prop­erty, he’s sorely tempted. Until he starts hearing stories about com­bust­ible tap water and unex­plained health prob­lems from others who have allowed the nat­ural gas industry to exploit their land. Setting out on a per­sonal quest to find answers, Fox travels from his home in rural Pennsylvania to Colorado, New Mexico, Texas and Louisiana to see the res­ults in places where this sort of drilling, called hydraulic frac­turing (or “fracking”) has been going on for years.

The nat­ural gas industry is, pardon the pun, on fire. Touting a vir­tual ocean of nat­ural gas under US soil, gas com­panies have been aggress­ively drilling wells in order to exploit this energy source as quickly and as prof­it­ably as pos­sible. In a bid to become inde­pendent of for­eign oil, politi­cians have acqui­esced to the industry’s lob­by­ists at almost every step. The Energy Policy Act of 2005, pro­posed by then-Vice President Cheney, exempted the oil and gas industry from numerous pieces of envir­on­mental legis­la­tion including the Clean Air Act and the Clean Water Act. Since that time, fracking has pro­ceeded vir­tu­ally unreg­u­lated, and Fox’s travelogue shows just how ubi­quitous nat­ural gas wells have become.

Despite admit­ting to being the son of lib­eral hippie par­ents, Fox is smart enough not to come across as a spoiled rich kid from the East coast. His con­fes­sional style and banjo playing endear him to both the audi­ence and to the people he visits in the film. These people, for the most part, are average rural Americans, solid Republicans who likely voted in the very same people who gave cor­por­a­tions the right to drill on their land. I’d dearly love to show this film to some of the cur­rent Tea Party act­iv­ists who are cam­paigning for even less gov­ern­ment in their lives. Why aren’t those people pick­eting out­side the offices of EnCana or Chesapeake Energy?

Fox does a good job of explaining the pro­cess of fracking in layman’s terms and per­haps the most shocking thing about the pro­cess is just how much water it uses. Each well drilled con­sumes 1–7 mil­lion gal­lons of fresh water, which is mixed with chem­icals and injected into the earth’s crust to free up the gas. We’re lit­er­ally sac­ri­fi­cing one scarce com­modity to obtain another. To make mat­ters worse (or better, depending on your per­spective), when the res­id­ents’ drinking water is con­tam­in­ated, they’re forced to buy water from some­where else. Privatization of resources is a capitalist’s dream come true, unless of course you actu­ally live in any of these places. And as the film’s graphics show, a huge por­tion of the United States is either being drilled now or will be in the near future. The gas com­panies began in the sparsely-populated western states, but are now moving east. Fox’s home is in an area of the Delaware River basin that provides fresh water to New York City, and drilling may jeop­ardize the water supply of more than 15 mil­lion people.

And even if you’re lucky enough not to live close to a drilling oper­a­tion, some of these con­tam­in­ants have now entered the food supply, as one rancher sadly relates. Farms and ranches depend on water to irrigate their crops and feed their animals, and even if the humans can afford to pur­chase clean water for them­selves, they often can’t afford enough to take care of the needs of their busi­nesses. So we’re all at risk. Even sadder was the rev­el­a­tion that the Bush gov­ern­ment approved drilling on public land. So now even a visit to land under the “pro­tec­tion” of the Bureau of Land Management is likely to be spoiled by unsightly gas wells at best, and pol­luted air, soil, and water at worst.

Luckily, the film strikes just the right tone, and there is enough humour and banjo music to avoid making this a com­pletely depressing exper­i­ence. But Gasland still delivers an urgent mes­sage, and it’s one that we ignore at our own peril.

Official site of the film

8/10(8/10)

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The Age of Stupid

The Age of Stupid (Director: Franny Armstrong): I’ve been fol­lowing the story of this film for more than a year now and was glad to finally be able to see it last night at the Canadian premiere. The Age of Stupid is unique because the cre­ators have used the Internet to crowd­fund the making of the film, and they’re doing the same thing to dis­tribute and pro­mote it. This Huffington Post art­icle applauds the film­makers for enga­ging with the audi­ence dir­ectly and using social media tools to accom­plish a lot on a lim­ited budget. Even if they film was simply mediocre, the amount of work they’ve put into spreading the word will con­tain les­sons for many film­makers trying to get their films seen without the backing of a major studio. Luckily, the film is far from mediocre.

Essentially an envir­on­mental doc­u­mentary, what sets The Age of Stupid apart is its clever framing device and bril­liant editing. Pete Postlethwaite stars as the arch­ivist, a lone figure watching over a col­lec­tion of the earth’s greatest treas­ures in a building high above the Arctic sea. The year is 2055 and he’s looking back at video evid­ence of the envir­on­mental degrad­a­tion that we could have avoided. As he accesses and moves clips around his screen, he won­ders mourn­fully why we didn’t do any­thing to avoid this cata­strophe. In this way, dir­ector Franny Armstrong can show us sev­eral dif­ferent doc­u­mentary threads within a (sci­ence) fic­tional frame­work. The editing is slick and the way in which some of the seg­ments are ordered makes for a powerful and thought-provoking viewing experience.

For instance, one of the threads fol­lows Indian entre­preneur Jeh Wadia as he attempts to launch a low-cost air­line in India. He sees his mis­sion as bene­fi­cial, allowing all Indians access to cheap air travel. But in some of the other seg­ments, we learn that the greatest con­trib­utor to green­house gases is air travel. It’s going to be very dif­fi­cult to con­vince people in the devel­oping world to give up things that we have taken for granted for many years. Another affecting story is that of French moun­tain guide Fernand Pereau, who has watched the gla­ciers in the French Alps melt over the past fifty years. His mournful 82-year-old face has seen a lot of “pro­gress” and as he says, we know quite well how to profit from the earth, but not to pro­tect it.

Even those who are working for change are coming up against obstacles. Piers Guy is working to expand the use of wind power tur­bines in the UK, but he faces oppos­i­tion every­where from people who don’t want the tur­bines to “spoil the view.” His frus­tra­tion is palp­able and is being played out all over the world. In fact, the film itself doesn’t really offer a lot of solu­tions, but it does do a good job of expressing the all-encompassing nature of the problem. Luckily, the film­makers have partnered with many organ­iz­a­tions who are working for change, and have estab­lished another web­site, NotStupid.org which will serve as a con­stantly evolving resource for action.

The film also uses anim­a­tion to take on such wide-ranging topics as resource wars and con­sumerism. I can see this being a must-see for stu­dents, and much less dry than An Inconvenient Truth. Even the title hints at the ample humour in the film, even if it is just to reit­erate how stupid our beha­viour has been. I’m also impressed that the film­makers have made a huge effort to have the film shown in every country in the world. In fact, the Global Premiere is taking place over two days, September 21st and 22nd. This guar­an­tees world­wide media cov­erage and might even help the issue of cli­mate change reach crit­ical mass in the col­lective con­scious­ness of the humans on an ailing Planet Earth.

Note: Last night’s Canadian premiere was sponsored by the Climate Action Network who recom­mended that people sign the peti­tion at KyotoPlus.ca. Another good resource is tck tck tck. The film will have its first public screening in Toronto on Saturday October 3rd at 6:30 at the Royal Cinema as part of the inaug­ural M.U.C.K. (Movies of Uncommon Knowledge) Film Festival.

Official site of the film

9/10(9/10)

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Recipes for Disaster (Katastrofin Aineksia)
Editor’s Note: Doc Soup is a monthly doc­u­mentary screening pro­gramme run by the good folks at Hot Docs. It gives audi­ences in Toronto (and now Calgary and Vancouver!) their reg­ular doc fix each year from the fall through to the spring, leading up to the Hot Docs fest­ival itself.

Recipes for Disaster (Katastrofin Aineksia) (Director: John Webster): Anglo-Finn dir­ector John Webster decides to put his family (wife and two young sons) on a strict oil diet for a year and to film the res­ults. Ignore the standard archival footage and ser­ious voi­ceover about the prob­lems of cli­mate change; the most inter­esting thing about this film is def­in­itely the family dynamics. Webster’s wife is a reluctant par­ti­cipant and avoids telling her work col­leagues about the exper­i­ment, not wanting to draw atten­tion to her family. She also calls out Webster for his self-righteousness sev­eral times, at one point sar­castic­ally calling him “a real Jesus.”

And it’s a valid point. After Webster bans all oil products, including plastic, from his family’s life, things become very dif­fi­cult indeed. They try to make their own tooth­paste, with pre­dict­ably dire res­ults. They are forced to buy indus­trial rolls of toilet paper to avoid plastic pack­aging. It’s not enough for Webster, who decides they need to throw out nearly every plastic item in their house. In short, his obses­sion makes him less and less sym­path­etic as the film pro­gresses. In the eyes of his family, espe­cially his wife, he becomes well-nigh insufferable.

Luckily, by the end of the film, he’s recog­nized the ridicu­lous­ness of his beha­viour, while still acknow­ledging the import­ance of his cru­sade. After the year is up, the family con­tinue with a mod­i­fied form of their diet, while still allowing cer­tain items such as tooth­paste. Webster had replaced his car with one that had been mod­i­fied to run on biod­iesel, and he con­tinues to drive that. He buys his elec­tri­city from a green source, and equips his cot­tage with solar panels. All in all, he recog­nizes that he cannot change the world all by him­self. In fact, he can’t even change his family without some com­promise. But the film provides an enter­taining lesson in what can actu­ally be done, and it makes its points with self-deprecating humour.

Normally, Doc Soup screen­ings are accom­panied by a Q&A with the dir­ector present. Since it would go against the director’s prin­ciples to fly from Finland to Toronto just to answer ques­tions, he spoke to the audi­ence via Skype videochat. This worked remark­ably well, and showed that he was still attempting to live up to the lofty goals with which he began, to reduce his family’s carbon footprint.

Official site of the film

7/10(7/10)

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Food Inc.

by James McNally on September 7, 2008 · 2 comments

in Film Festivals,TIFF

Food Inc.

Food Inc. (2008, Director: Robert Kenner): In this com­pre­hensive and yet com­pel­ling film, dir­ector Robert Kenner, along with authors Eric Schlosser (Fast Nood Nation) and Michael Pollan (The Omnivore’s Dilemma) indict the American (and by exten­sion, global) food industry. Just the fact that we call the pro­du­cers of our daily bread an industry at all shows what sort of major changes have taken place in the worlds of farming and raising live­stock in the past cen­tury. The explo­sion of fast food in the 1950s brought factory methods to the pro­duc­tion of food and the ensuing con­sol­id­a­tion among cor­por­a­tions has res­ulted in an increas­ingly mono­pol­istic mar­ket­place. To save costs, the size of farms and feed­lots and slaughter­houses has escal­ated and safety stand­ards and working con­di­tions have plummeted.

This wide-ranging film touches on almost every con­ceiv­able issue that has affected our food supply, from new bac­terial organ­isms that threaten our health, to deteri­or­ating gov­er­ment reg­u­latory bodies, the wide­spread use of illegal immig­rant workers, and the explo­sion in dia­betes rates among the young. And yet we’re still sold an image of American’s agrarian past, and we believe it. None of the big food pro­du­cers were willing to talk to Kenner, and so he spoke to others: to the woman whose 2-year-old died from an E. Coli infec­tion, the chicken farmer who refused the demands of one of the big cor­por­a­tions and lost her con­tract, the man trying to fight for slaughter­house workers’ rights, and the artic­u­late organic farmer who’s simply trying to fight the good fight for honest and healthy food. And more than just talking heads, there are some eye-popping images from slaughter­houses and some incred­ible over­head shots of the vast feed­lots where the majority of our food comes from.

Food Inc.

Most dis­turbing, or at least prob­lem­atic, is the recent phe­nomenon of small organic food com­panies being bought up by the large cor­por­a­tions. Is this a legit­imate attempt to “green” their busi­nesses, or is it just “gre­en­washing”? Is the fact that Stonybrook Farm, the largest organic food com­pany, is now selling its products at Wal-Mart a good or a bad thing? The film touches on the sub­ject but leaves the con­clu­sions to us. That’s a bit symp­to­matic of a film which brings up so many ser­ious issues, but doesn’t have time to tackle them all. I’d recom­mend the two books above as a starting place, and the film’s accom­pa­nying web site also prom­ises to be a useful resource, not just for edu­cating ourselves, but for taking some action.

It’s a little dif­fi­cult for me to be objective about this sub­ject, because I’ve read the books and have seen a number of doc­u­ment­aries over the past few years on this sub­ject, but I am hopeful that this film has the poten­tial for mass appeal where others have not. After our screening, there was a long ova­tion and some insightful ques­tions. It remains to be seen whether this film will catch the ima­gin­a­tion of the main­stream (non-film-festivalgoer) pop­u­la­tion. I des­per­ately hope so.

Official site where you can find next steps

Here is the Q&A with dir­ector Robert Kenner and author Eric Schlosser from after the screening:

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Duration: 12:59

9/10(9/10)

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Blue Vinyl

Blue Vinyl (Directors: Daniel B. Gold and Judith Helfand, USA, 2002): After seeing and enjoying Helfand and Gold’s latest film Everything’s Cool at Hot Docs this year, I was looking for­ward to seeing this, their first film. Let’s just say that the pair have developed quite a bit as doc­u­ment­arians in the past five years. Though the film explores an important sub­ject, the tox­icity of the vinyl used in siding and other products, the tone and pro­duc­tion values were ulti­mately dis­tracting for me.

Helfand is very much involved in the film, since the pro­ject grew out of her con­cern that her par­ents’ install­a­tion of vinyl siding on their house would lead to health prob­lems and other envir­on­mental damage. She does a decent job invest­ig­ating the vinyl industry’s record of decep­tion and coverups, but she’s just a little too gim­micky. She reminded me too much of Michael Moore, put­ting her­self into every scene, and even car­rying around a piece of vinyl siding throughout the film. In a few places, her inex­per­i­ence as an inter­viewer is obvious, and although she tries to play it for laughs, it falls flat.

One sub­ject that I wanted to hear more about was the search for altern­ative building mater­ials. She does talk to a number of people at a California con­ven­tion, but doesn’t provide enough inform­a­tion about the innov­a­tion going on in the con­struc­tion industry. The film aims for a light tone but has a hard time main­taining it when we hear about how many people have become sick or died from working with vinyl and PVCs. This is a decent first effort, but I’m glad that in their latest film, Helfand gen­er­ally stays off screen. As well, they chose to make a more pos­itive film focus­sing on solu­tions, which suits their style better.

Note: Ironweed fea­tured this film on their April 2007 Earth Day edi­tion. They’ve posted a good col­lec­tion of resource links about vinyl siding.

Official site for the film

6/10(6/10)

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