What is the story of this earth, and what are the stories we want to engage and surround us with? In Story Telling for Earthly Survival, named after the documentary about Donna Haraway, we reflect on these questions by using film as a way of thinking. We have created a program of documentaries, short films and feature length films which use the medium of film to reflect, discuss and create new perspectives on environmental issues.

This event is a collaboration between De Uitkijk and Kriterion. Starting on the 20th of June in De Uitkijk, the event will entail two screenings in De Uitkijk and three in Kriterion and will end on July 7th. On this page you can find an overview of the program, which includes screenings and talks or discussions.




Donna Haraway: Story Telling for Earthly Survival (2016) + introduction by Amalia Calderón



Donna Haraway’s contributions to feminist studies of science and technology resist and even rebel against hegemonic ways of thinking and living. But what form should such stories take? What might they sound or feel like? To watch Fabrizio Terranova’s Donna Haraway: Story Telling for Earthly Survival (2016) is to know that the filmmaker took Haraway’s imperative to heart. Both subtle and explicit filmic techniques mimic, comment on, and evoke the rhythms that sustain Haraway as a thinker, a storyteller, and a human being. The screening will include an introduction by Amalia Calderón.

Info and tickets on De Uitkijk website →

Black Sea Files (2005) + 13 ways of looking at a Blackbird (2020) + introduction by Jeff Diamanti



Black Sea Files is a territorial research on the Caspian oil geography: the world’s oldest oil extraction zone. A giant new subterranean pipeline traversing the Caucasus will soon pump Caspian crude to the West. This line runs through the film like a central thread. However, the trajectory followed by the narrative is not linear.


Taking its title from the poem by Wallace Stevens, 13 Ways of Looking at a Blackbird is composed of a series of attempts at looking and being looked at. Beginning as a city state commission under the name and attitude of Unschool, the film became a kaleidoscope of the experiences, questions, and wonders of a couple of high school students after a year of experiences with filmmaker Ana Vaz, questioning what cinema can be.


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Ursula Biemann, still from The Black Sea Files, synchronized video essay, 43 minutes, 2005. Image © 2014 Ursula Biemann, provided courtesy of the artist.  

Nebel (2014) + Acoustic Ocean (2018) + She Breathes Water (2019) + talk by Stan Litjens



Nebel (2014) is the first feature length film of the swiss born director Nicole Vogele. The film is a finely- woven tapestry, unifying things that are incommensurate. By using images, scenes and moods which do not relate to each other in a concrete way she shifts towards an understanding of film where the act of listening and looking becomes more important than understanding. The film is a visual-acoustic experiment which resonates differently in each of us.


Acoustic Ocean (2018) is an artistic exploration of the sonic ecology of marine life in the North Atlantic. Located in northern Norway the film centers around a performance of Sofia Jannok, who appears as a marine- biologist diver who is using a life-size model of a submersible equipped with all sorts of hydrophones and recording devices. In this science-fictional quest, her task is to sense the submarine space for acoustic and bioluminescent forms of expression to expand our understanding of sonic fields around us.


In She Breathes Water (2019) the opening shot is of a woman in a swimsuit who seems to be addressing us reproachfully. The closing image is a man with an ironic smile disappearing behind a tree trunk. In the intervening scenes, animals are slaughtered, seas conquered, sacrifices made and raw materials converted into products. Penny Siopis cuts found footage and rearranges it into a warning packaged in symbolism, a parable or a dated form of science fiction. At first sight, the images suggest a romance, but gradually a larger picture emerges: humankind’s destructive relationship with the earth. The screening will include a talk by Stan Litjens.


Info and tickets on De Uitkijk website →

Oltre la parola: la sintassi poetica del cinema - La ...

Progress vs. Sunsets (2017)



Everyday people share new clips with a monkey, a cat, a frog, a bear or any other beast or critter as the main character. Since kids are active internet users nowadays, they see these videos and draw their own conclusions from them. In Progress vs Sunsets (2017) Melanie Bonajo edits the children watching these videos into them and meanwhile asks them about their thoughts on the environment and animal welfare. Their views are uniquely childlike, not exactly right, but empathic and idealistic nonetheless.


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Melanie Bonajo - Film, Bio, dan Daftar di MUBI

Aspect (2004) + Frem (2019) + Naya – Der Wald hat tausend Augen (2020) + introduction by Sebastiaan Mulder



In Aspect by Emily Richardson we see an entire calendar year in a forest condensed into less than nine minutes. Light, shadow and colour shift across the surface of the trees. Richardson uses photographic techniques like long exposure and timelapse to create fascinating moving images of light and shadow growing and dying down, while the surface of trees shimmer disappear again. The images are accompanied by the soundtrack of the forest, made by Benedict Drew. We hear twigs snapping, leaves rustling, capturing the hidden life between the trees.


Frem is a response to the current wave of post-humanist thinking caused by the climate crisis and its relation to the development of technology and artificial intelligence. The human species is beginning to realize its insignificance and transience, and human identity has found itself in a crisis. We see and hear ncomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical reflection on the limits of anthropocentric thinking.


In Naya, we follow the life of GreyWolf680female, a she-wolf who was born in 2016 in a military training area in former East Germany. On October 10, 2017, Naya leaves her parental pack to look for a habitat to start her own pack. While Naya is walking from Germany to the Netherlands, she is not seen or filmed anywhere. The film takes this disappearance as its starting point and consists entirely of found footage from surveillance cameras, satellite recordings, webcams, wildlife cameras and drones. Naya’s presence can be felt through the graphic line showing the movement of her GPS signal and the tense sound design.


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FREM | Czech Film Center