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Where Heaven Meets Hell

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Grocery | Health & Beauty | Home & Auto |

Where Heaven Meets Hell
A documentary film produced by Sasha Friedlander for Sasha Films LLC & Independent Television Service
Trailer embedded above. Search for online streaming here. Track down a DVD copy here.

Filmmaker Sasha Friedlander visits a stunningly beautiful active volcano in Indonesia called Kawa Ijen. Heaven. It’s a place that loads of tourists visit to take photos of this bubbling cauldron of toxic sulphur gas. They’re also shocked and amazed to see men emerging out of these sulphur clouds carrying on their shoulders baskets containing blocks of raw yellow sulphur, mined hot from the volcano’s insides. This is unbelievably picturesque, hard and dangerous work (physically and chemically). Some say it’s a vision of hell. Friedlander sticks around, her tiny crew following the sulphur miners down into the volcano to better understand the work that they do, their lives and their reasons for doing a job that’s clearly so poorly paid and so extraordinarily hazardous to their health. Making this film is hazardous to the filmmakers’ health too. They struggle with their working conditions. This film they make provides intimate portraits of four men who do this work and their families. Audiences are moved by what they see. It’s beautiful and horrific. Friedlander returns to the village where most of the miners live to show the film to their families. That’s filmed too. They’re shocked. The men hadn’t told their families what their work was like. Some commenters say that workers unhappy with their jobs should get a safer and better paid job somewhere else. They’ve ‘chosen’ to work there. This film shows why making a different ‘choice’ is not as easy as it sounds. Where Heaven Meets Hell follows the journey of sulphur up and out of the Kawa Ijen volcano, to the cabins where the miners get paid for it by weight. But that’s as far as the following goes. Sulphur (and its derivatives) can be found in countless commodities and the processes used to make them – e.g. it’s used to refine sugar, and its an essential ingredients of matches – because it brings specific properties that producers and consumers rely upon. Where Heaven Meets Hell is an excellent example of a follow the thing project that ‘starts somewhere different’. It doesn’t start or end at a factory, for example. Those followings can be nice and linear, easy to trace, easy to convey to an audience. But starting in a place where a raw material is extracted from the earth presents a different view of international trade. So many raw materials like sulphur travel along countless supply chains, and become ingredients in countless industrial processes and commodities. Following raw materials can be much, much more complex. The supply chains of something basic like sulphur can infiltrate so many other supply chains, so many other things, so many other places and lives. This means that any trade justice ‘solutions’ that audiences might want to support are from straightforward. Try boycotting sulphur! Start by looking for sulphur compounds on ingredient labels. That’s the top of the volcano.

Page reference: Ian Cook et al (2016) Where Heaven Meets Hell. followthethings.com/where-heaven-meets-hell.shtml (last accessed <insert date here>)

Estimated reading time: 53 minutes.

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Manufactured Landscapes

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Home & Auto

Manufactured Landscapes
A documentary film directed by Jennifer Baichwal, starring photographer Edward Burtynsky, for Zeitgeist Films.
Trailer embedded above. Search online for streaming availability here.

Filmmaker Jennifer Baichwal follows industrial landscape photographer Edward Burtynsky as he visits factories, dumping and recycling sites in China and Bangladesh. His photos are stunning, beautiful, mesmerising and disturbing. Her film picks out the details and follows them, ‘unfreezing’ his photos in time. On the one hand, it’s a portrait of the artist at work. But, on the other, some say it’s a critique of the way that his work is more interested in the aesthetics than the politics and ethics of global capitalism. As he’s high above or far away trying to get a stunning visual composition framed and lit just right, she documents lives and livelihoods up close. People watching the film say that it transforms the cinema into an art gallery, as his photos linger long on the screen. Many remark on the ‘beauty’ of his work. It’s sublime. But is Baichwal’s film complicating these aesthetics with ethics? Or does his interest in capitalist industrialisation’s huge scale, order, patterns and visual contrasts ,and his eye for pollution, invite the viewer to see these ethics at play?

Page reference: Lucy Bannister, Harriet Beattie, Katy Charlton, Lawrence Cook, Daisy Livingston, Romain Tijou & Alex Tucker (2011) Manufactured Landscapes. followthethings.com/manufactured-landscapes,shtml (last accessed <insert dae here>)

Estimated reading time: 36 minutes.

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Just Eat It: A Food Waste Story

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Recycle my waste

Just Eat It: A Food Waste Story
A documentary film written by Jenny Rustemeyer Grant Baldwin, directed by Grant Baldwin for Silvapark Films.
Trailer and on-demand Vimeo stream embedded above. Search the internet for other streaming options here.

Most trade justice activism looks back down the supply chain from the point of consumption. It looks at all the materials, human and other lives bound up in commodities. It asks how they could be brought together in more sustainable, more ethical, ways. The sheer volume of resources inside even the most basic thing can be astonishing. Just as astonishing are the mountains of unsold commodities that go to waste. All those resources and all that work that went into making commodities that aren’t consumed! It’s shocking. So, filmmakers Jenny Rustemeyer and Grant Baldwin challenge themselves to live on thrown-away food for six months. They document how they get on with this experiment in a diary-like film. All the little details of their life, the decisions they make, are shared with the audience. People throw perfectly good food away at home, so maybe rummage through their bins. Then they discover the hidden world of supermarket dumpsters that contain discarded out-of-date food. They find and join local networks of dumpster-divers who specialise is finding, emptying, distributing and eating what’s in them. But what kind of diet do you end up living on when this is how you shop? How many lasagnes can you squeeze into your freezer? Do you fancy eating lasagne every day? Would you try this zero cost ethical food shopping? What can audiences learn about the food industry’s inevitable production of waste? They call on some experts to explain.

Page reference: Ian Cook et al (2024) Just Eat It: A Food Waste Story (holding page). followthethings.com/just-eat-it-a-food-waste-story.shtml (last accessed <insert date here>)

Estimated reading time: tbc minutes.

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China Blue

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Fashion

China Blue
A documentary film directed by Micha X. Peled for Teddy Bear Films.
Trailer embedded above. Search online for streaming options here.

The first film in Micha X. Peled’s ‘Globalisation Trilogy’ is a critique of cut-price retailer Wal-Mart. For the second, Peled finds out how the goods that it sells can be so cheap. He travels to China, to a jeans factory, trying to avoid the authorities in order to make his film. The factory owner is proud, but the working conditions are harsh, and its clients are demanding. Corporate executives sourcing clothes from the factory haggle the price down. They couldn’t compete if they paid living wages. Along with factory manager Mr Lam, a charming , fun-loving 16 year old called Jasmine is the film’s main character. She trims threads, and takes pebbles out of pockets – for up to 20 hours a day. She lives in a cramped dormitory and speculates with her friends about the lives of the ‘fat and tall’ people that wear these jeans overseas. She writes a letter and places it in a pocket for a shopper to find and read. She meets someone whose jeans she has helped to make. She dreams of being a martial arts princess. She wants to work here but is worn down by the endless, tiring work. The film makes some viewers feel implicated. Only a tiny increase in the cost of those jeans could give Jasmine and her friends a living wage. But nobody in China can see this. Peled’s film was banned there.

Page reference: Jess Mayers, Alex Horgan, Sam Spicer, Mike Rastall, Rob Donald and Andi Frost (2012) China Blue. followthethings.com/china-blue.shtml (last accessed <insert date here>)

Estimated reading time: 64 minutes.

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Girl Model: The Truth Behind The Glamour

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Fashion | Health & Beauty

“Girl Model: The Truth Behind The Glamour”
A documentary film directed by David Redmon & Ashley Sabin for Carnivalesque Films.
Trailer embedded above. Available in full on Kanopy (with institutional login) here. Search Google for other streaming here and purchasing opportunities here. Website including ‘take action’ advice here.

How do 13, 14, 15 year old girls from Novosibirsk, Siberia end up on the pages of fashion magazines in Japan? Filmmakers David Redmon & Ashey Sabin follow 13 year old Nadya Vall who is scouted in her bra and pants by former model Ashley Arbaugh who finds her look ‘extraordinary’. Nadya wants to live the glamorous life in Tokyo that Ashley’s modelling agency could provide her with, and could earn much-needed money for her family back home. But the reality she experiences in Tokyo is starkly different. She is lonely, hungry and broke. What is it about Japanese fashion culture that values skinny white blonde blue-eyed Europeans teens? Especially as it dehumanises them, treats them as commodities, when they become part of it. Ashley knows she works in a parasitical industry and is conflicted. ‘Girl Model’ is an exposé of its creepiness and exploitation. It’s uncomfortable viewing for its audiences (to put it mildly), and for the people who feature in it. Some of them say that it’s not an accurate portrayal. Nadya calls co-director Redmon a ‘sexual predator’. But is this true or is it what you would have to say if you wanted to continue working in the industry? Models working around the world recognised themselves in the film and shared their experiences online. The film became a rallying cry and campaigning tool to push for change in the industry. It had a powerful impact and features on our site because, here, it’s the workers are the commodities and their supply chain stretches from Sibreria to Japan.

Page reference: Adele Hambly, Elaine King, Andy Keogh, Camilla Renny-Smith, Ed Callow,  Joe Thorogood & Vicky Alloy (2025) Girl Model: The Truth Behind The Glamour. followthethings.com/girl-model.shtml (last accessed <insert date here>)

Estimated reading time: 118 minutes.

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UDITA (ARISE)

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Fashion

UDITA (ARISE)
A documentary film directed by Hannan Majid & Richard York of the Rainbow Collective.
Available in full on YouTube (embedded above).

The women who work in garment factories in the Global South are often seen by factory bosses as docile and nimble fingered and by Global North journalists and activists as victims in need of saving from capitalist exploitation. But what if there was a film about their work, lives and struggles that was told from their perspectives? Watch UDITA (ASRISE)! Filmed in Dhaka, Bangladesh over five years – starting before and ending after the Rana Plaza factory collapse which killed so many women like them (including their friends and relatives) – Hannah Majid & Richard York show garment workers as an organised body of people teaching, learning and fighting for their labour rights through the campaigning and strike action of Bangladesh’s National Garment Workers’ Federation. There’s no Western filmmaker narrating their quest to find out who made their clothes. There’s no voiceover at all. The only voices are those of the women themselves. They are less interested in what ‘guilty’ consumers in the Global North can do to help them, and more interested in what they can do to help each other. So, who would want to see a film like this? Who was it made for? What are audiences supposed to take away from it? One answer is to appreciate how garment workers in the Global South have powerful collective agency. This is a fundamental, but often neglected, principle in trade justice activism. An important move for audiences to make, as the philosopher Iris Marion Young has put it, ‘from guilt to solidarity’.

Page reference: Theo Barker, Joe Collier, Annabel Baker, Lizzie Coppen & Henry Eve (2020) UDITA (ARISE). followthethings.com/udita.shtml (last accessed <insert date here>)

Estimated reading time: 48 minutes.

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