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Crude: The Real Price Of Oil

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Home & Auto

Crude: The Real Price Of Oil
A documentary film directed & produced by Joe Berlinger for First Run Features.
Trailer & pay per view stream embedded above. Search online for other streaming options here. Watch clips on the film’s YouTube channel here. Check its website here.

30,000 people living in Ecuador’s remote Amazon rainforest are taking out a US$27 billion class action suit against oil giant Chevron in the US over the dumping of toxic waste that has (allegedly) ruined their environment, livelihoods and health. Filmmaker Joe Berlinger hears about the case from the plaintiff’s US attorney and visits Ecuador to see what’s happening. He sees a gathering of indigenous people preparing a meal from canned tuna – unable to fish in their own water because its toxicity has killed or diseased any fish they might catch. The US oil giant Texaco had been drilling for oil here since the 1960s, and had allegedly dumped 18 billion gallon of toxic wastewater in the environment. Chevron had bought Texaco many years later so bought this responsibility too. Berlinger can’t imagine what his documentary will look like, or how it will appeal to audiences, until he meets an Ecuadorian oilfield labourer-turned-lawyer called Pablo Farjado who is working on the case. He’s the hero Berlinger needs, and he films without funding for a year (another two follow, after funding is secured). To join the dots in this case, he visits multiple places and talks to people who speak multiple languages. He films the trial, giving equal credence to the prosecution and the defence. He wants the audience to act as the jury, making up their own minds about the case. The film has fascinating twists, like the celebrities who get involved – most notably Trudie Styler and Sting – who help to turn what could have been a local news story into an international ’cause célèbre’. Once the film is released nationwide in the USA – even though the case is not resolved – it’s described as tragic, light, and comedic thriller because of its characters and unexpected twists and turns. One reviewer describes the film as ‘one of the most extraordinary legal dramas of our time’. Chevron’s lawyers and scientists have their say on screens, but audiences don’t warm to them. It’s a PR nightmare for Chevron. So the company attacks the film, filmmaker and prosecution team. Crude is one-sided, propaganda. And Chevron alleges corruption in the prosecution team which they say is shown in the film. A US court agrees that Berlinger should hand over all 600+ hours of footage so that Chevron’s complaint can be investigated, despite his First Amendments rights as a journalist. More celebrities (as well as filmmakers, journalists and professional organisations) come to his defence. But defending such a case is expensive when you’re up against an adversary with bottomless pockets. This is another excellent example of the ‘Streisand Effect’ – can attempts to intimidate trade justice activists (even when they’re trying to be even-handed!) discredit them and their work? Or can it create free publicity that makes it yet another unmissable film that a corporation ‘didn’t want you to see’? And, finally, can this type of manufactured scandal wither way, because less and less emphasis gets placed on the lives and environments of Ecuador’s indigenous people whose lives have been ruined by the oil industry?

Page reference: Jesse Fratkin, Judy Hwang and Shay O’Brien (2011) Crude: The Real Price Of Oil. followthethings.com/crude-the-real-price-of-oil.shtml (last accessed <insert date here>)

Estimated reading time: 47 minutes.

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King Corn: Your Are What You Eat

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Grocery

King Corn: Your Are What You Eat
A documentary directed and starring Ian Cheney & Curt Ellis for Mosaic Films (US)
Official trailer embedded above. Search online to watch the full movie here. Movie website here.

What better way to find out where your food comes from than growing it yourself and following where it goes? That’s what college friends Ian Cheney and Curt Ellis do by growing an acre of corn in the US state of Iowa. This isn’t the corn you’d eat on the cob, though. This corn tastes horrible. It’s inedible. It’s a starch crop that ends up as an ingredient in countless other industrial foods: like burgers, twinkies, apple juice. Corn is ‘the raw material for an overweight society’, a major cause of obesity diabetes. You can’t get away from it. Americans are all part corn (test your hair!). But who controls this trade? And who is if good for? The consumers who eat all that junk food? The corporations who dominate its growing and processing? The government who could (maybe should) change the nation’s farming policy? Ian and Curt’s ‘grow your own’ approach to supply chain activism is innovative. They present themselves as a couple of naive, funny ‘guys’, just out of college. They have no farming experience. They move from Boston to Iowa and buy some land. Plant some corn. Watch it grow (not much work is required). They ask for help from other farmers. They follow corn from production to consumption by producing and trying to sell it to processors. But they don’t want to help, so these two guys try to process it themselves, making High Fructose Corn Syrup (the sweetener in so much junk food) in their kitchen. The film is a hit. It exposes a truth about US agriculture which the ‘Corn Producers of America’ trade body does not appreciate. They hope it will inspire audiences to act politically to chabge the health of their society for the better. Its not about shopping for different products, because corn is in everything. To counter the film’s message, the CPA invest in an advertising campaign – including an iconic TV ad – about the harmlessness of corn. The filmmakers produce a parody ad about the harmlessness of tobacco. Then iconic satirical US TV show Saturday Night Live gets in on the act, making its own parody ad about the harmlessness of corn. So much sarcasm! This is another example we have found of an industry’s attempts to silence – in this case quite a mild – critique of how things are made. As we might expect, this critique draws so much attention to the original film, that it means more people know about it. For the filmmakers, it’s free publicity.

Page reference: Yahellah Best, Melanie Garunay, Melissa Logan & Andrea McWilliams (2024) King Corn: You Are What You Eat. followthethings.com/king-corn-you-are-what-you-eat.shtml (last accessed <insert date here>)

Estimated reading time: 40 minutes.

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McLibel

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Grocery

McLibel
A documentary film written by Franny Armstrong and directed by Franny Armstrong & Ken Loach for Spanner Films.
First released in 1998, extended version released in 2005 (the trailer for the latter version is embedded above). Search online to stream the whole film here. DVD extras Youtube Playlist is here. Original protest leaflet is here. Campaign website here.

Gardener Helen Steel and postman David Morris hand out leaflets outside McDonald’s restaurants in London. They tell consumers what’s wrong with the company and its food. Especially the cruelty in its meat supply chains. McDonald’s sues them for libel. What follows is the UK’s longest libel trial. An extraordinary ‘David vs Goliath’ drama in which the defendents defend themselves against McDonald’s highly paid corporate lawyers. When it’s over, it’s called it the ‘biggest public relations blunder in the history of public relations blunders’. It’s the earliest example we have found of the ‘Streisand Effect ‘in trade justice activism: where efforts to silence a critique of corporate misbehaviour backfire so spectacularly that the critique is amplified! Millions of people around the world got to know about Steel and Morris’ leaflets because McDonald’s sued them in court and because Franny Armstrong filmed what happened! TV channels couldn’t show her film because they feared McDonald’s will sue them. But McLibel film became a ‘cult classic’, nevertheless. The 2005 remake – with added courtroom re-creations – was released on DVD after films like Morgan Spurlock’s Supersize Me focused mainstream criticism on McDonald’s. In 2016, Armstong’s production company released McLibel in full on YouTube. Everybody could see it now. In 2024 it gained renewed attention when the young lawyer who gave Steel and Morris legal advice became the UK’s Prime Minister: Keir Starmer.

Page reference: Hannah Doherty, Rosie Benbow, Philippa Day, Meike Schwethelm, Hannah Griffiths and Alice Nivet (2013) McLibel. followthethings.com/mclibel.shtml (last accessed <insert date here>)

Estimated reading time: 59 minutes.

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Big Boys Gone Bananas!*

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Grocery

Big Boys Gone Bananas!*
A documentary film directed by Fredrik Gertten for WG Film AG, Sweden
Free trailer and on-demand stream embedded above. Search online for other streaming options here.
The second of two films on this topic. The first is “Bananas!*”. See our page on this here. See the films’ website here.

Swedish documentary filmmaker Fredrik Gertten and his small film company team are looking forward to the premiere of their courtroom documentary Bananas!* at the Los Angeles Film Festival. It follows a class action case in the California courts where a group of Nicaraguan Banana farm workers hold the Dole corporation accountable for their sexual impotence by making them use an agrochemical that had been banned because it caused it. Their case is put together by a California-based attorney, and the documentary includes grainy in-court testimony not only by the farmers but also by the Dole bosses who made the decision to continue using that agrochemical. The film documents a success story, more or less, with significant financial compensation being awarded to the workers. This is a test case. The first of its kind. So more cases will follow. More costs for Dole. More embarrassment. So Dole fights back, mounting a sophisticated public relations campaign to discredit the case (charging its lawyer with fraud) and the film (claiming it’s uncritically promoting this lawyer’s fraud). This campaign starts before the film has been screened. By people who have not seen it. News articles appear reporting that the film is a fraud. The festival is forced to withdraw it from competition, to show it at a remote theatre, and the festival director has to read out a disclaimer before it’s shown there. Then negative reviews start to appear as soon as it’s seen. Can this seemingly coordinated effort to silence corporate critique succeed? What would you do as a filmmaker if this happened to you? Gertten does what he knows best. He turns his camera on and makes a film about Dole’s attempts to discredit his film. He steps out from behind the camera to become its central character. Unbelievable things are happening to him, to the people he works with, and to the film they made together. But his film company had taken out an insurance policy that allowed them to pay for expensive legal help to fight back. They cleverly coordinate an counter-information and crowndfunding campaign. And a surprising international collection of allies come to their aid. Dole’s efforts to censor Bananas!* are a complete failure and, more than anything, make it and this Big Boys sequel a 100% must see double-bill for anyone interested in trade justice actvism. Read below to see how this story unfolds. It’s a genuine ‘David vs. Goliath’ story. You could never make this up! There’s so much to learn from this. Buckle up.

Page reference: Camilla Muirhead, Katie Lambert, Katie Joyce, Will Sensecall, Izzie Snowden, Matt Creagh & Harry Cousens (2020) Big Boys Gone Bananas!*. followthethings.com/big-boys-gone-bananas.shtml (last accessed <insert date here>)

Estimated reading time: 1 hour 53 minutes.

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Bananas!*

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Grocery

Bananas!*
A documentary film directed by Fredrik Gertten for WG Film AG, Sweden
Free trailer and on demand stream embedded above. Search online for other streaming options here.
The first of two films on this topic. The second is “Big Boys Gone Bananas!*”. See our page in this here.

Swedish Filmmaker Fredrik Gertten tracks a ‘class action’ legal case in which lawyers working on behalf of a group of Nicaraguan banana workers sue the American fruit multinational Dole in a Califiornia court for exposing them to a banned pesticide known to cause impotency in men. Gertten follows a flamboyant Cuban-heritage, Los-Angeles based lawyer called Juan ‘Accidentes’ Domingiuez as he and his team gather evidence from affected workers and present it in court. Grainy court-TV footage is cut into the film, and the scenes are remarkable. Dominguez’ attourney Dwane Miller encourages Alberto Rosales and other plaintiffs to explain how their lives were ruined by these chemicals robbing them of their fertility. And when Dole CEO David Delorenzo is in the dock, Miller gets him to admit that Dole used these banned pesticides knowing the risk. Dole attorney Rick McKnight cross examines the plaintiffs, aiming to show they are drunks and liars. When the verdict comes in, Dole is largely found guilty and ordered to pay compensation to the plaintiffs. Dominguez conveys the good news to the farming communities, phoning in to a radio show, and visiting to talk to a packed hall of workers. He’s a hero. But this is a test-case. If it’s successful, thousands of other victims would be able to claim compensation from Dole too. So, as the film is being readied for its premiere at the Los Angeles Film Festival, Dole launches a sophisticated smear campaign against Dominguez (accusing him of fraud – a charge later discmissed) and the film (which they claim is based on fraudulent content). Suspiciously, damning reviews appear in newspapers and film trade publications before teh film has its premiere (i.e. before anyone had seen it). Dole forces it to be taken out of competition and the festival organiser reads a disclaimer to the audience before its only screening. Fredrik Gertten, the director, doesn’t know it at the time but this is be the first of two films he will make on this topic. The second will be about Dole’s attempts to silence the first. He films everything as the chaos unfolds. [See our page on the sequel – ‘Big Boys Gone Bananas!*’ – here] But this scandal means Bananas!* picks up priceless free publicity, and diverse allies, worldwide. When it’s finally distributed, it’s marketed as ‘the film Dole doesn’t want you to see.’ Maybe if Dole had left it alone, Bananas!* wouldn’t have become a ‘must see’ example of trade justice fillmmaking, then and now. If their corporate public relations team had decided to just keep quiet, they wouldn’t have amplified Dole’s corporate misbehaviour that Bananas!* tracked so diligently. Amplifying a critique by trying to silence it is called the ‘Streisand Effect’, by the way, and this isn’t the only example on our site. So much happened in and around this film that this is an epic followthethings.com page. There are so many comments to read. But does the scandal about the silencing of the film distract from the scandal of Dole’s banned pesticide use, and its effects on so many thousands of banana workers in Nicaragua? As you will see, the answer is yes and no.

Page reference: Ian Cook et al (2020) Bananas!*. followthethings.com/bananas.shtml (last accessed <insert date here>)

Estimated reading time: 100 minutes.

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Phone Story

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Electronics

Phone Story
An iPhone, iPod Touch & iPad game created by Paolo Pedercini & Michael Pineschi for Molleindustria in partnership with the Yes Lab.
Banned from the App Store. Google Play archived page here. Play online here. Game website here.

Imagine you’re on Apple’s App Store looking for a new game to play on your iPhone or iPad in September 2011. You see one called Phone Story. Its levels show how your iPhone or iPad were made. The rare metals that make them work so quickly – like Coltan – are extracted from the soil in the Democratic Republic of The Congo by children. The devices are made in a factory in China where the regime is so relentless that workers jump to their deaths from the roof. When a new model comes out, people queue for days and it seems they would run across a busy highway to get to the store before someone else. And then there’s all the e-waste that is generated when the phones that are replaced get thrown away. So, how do you progress through the levels? You’re a soldier who has to bash kids on the back of the head if their Coltan-digging slows. You’re ambulance crew trying to catch workers trying to jump to their deaths from the factory roof. You get the picture. This ‘first anti-iPhone iPhone game’ is hilariously cruel, tasteless, offensive, meta. But it’s 100% based on what’s happening in Apple’s supply chain right now. And what’s more offensive: the game or what it depicts? 901 people pay 99cents and download it. But it’s only available for 4 days, before Apple remove it. People speculate. How on earth did it get there in the first place? And what does its removal mean for free speech? Phone Story went viral as the ‘game Apple didn’t want you to play’. But, you could still play it on your Android phone or computer. You can still do the latter, here. How well would you want to do? What does it mean to get a high score?

Page reference: Eeva Kemppainen, Charlotte Edwards, Toby Bain, Wilhelm Wrede, Sophie Biddulph & Jamie Hall (2012) Phone Story. followthethings.com/phonestory.shtml (last accessed <insert date here>)

Estimated reading time: 46 minutes.

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Primark – On The Rack

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Fashion

Primark – on the rack
A documentary film presented by Tom Heap & produced by Frank Simmonds with Dan McDougall for BBC TV’s Panorama series.
Screenshot slideshow of the contested scene embedded above. Watch on Box of Broadcasts (with institutional login) here.

The BBC produces an exposé of cheap clothing retailer Primark. It finds children making its clothes, and sewing and testing their sequins, in factories, slums and refugee camps in India. Primark is asked to contribute to the film before it’s shown. Instead, they decide to cut ties with the supply chains featured, then launch a website to counter the film’s claims. They research the film’s research to pick apart its claims, and then complain to the BBC that one 45 second scene (the one in the screenshots above) is fake. Their critic-silencing strategy has mixed success. The BBC is forced to admit that it cannot be 100% sure that the scene wasn’t faked, and the Panorama team are forced to hand back an award they were given for the film. But Primark’s persistent public attempts to silence this investigative journalism draws attention – for years – to the company’s reputation as the ‘poster boy of child labour in the UK’. Supporters of the film highlight the other 3,555 minutes of the film that Primark didn’t claim the producers had faked? Then, 5 years after the film was broadcast, the Rana Plaza factory complex in Dhaka, Bangladesh collapses and over a thousand garments workers are crushed to death making high street clothes. Journalists, filmmakers and others keep this tragedy relentlessly in the news. UK newspaper headlines refer to this as the ‘Primark factory’. There’s no way that this footage is fake. Primark has to react differently this time.

Page reference: Kate Adley, Richard Keeble, Pippa Russell, Noora Stenholm, William Strang and Tuuli Valo (2025) Primark – on the rack. followthethings.com/primark-on-the-rack.shtml (last accessed <insert date here>)

Estimated reading time: 124 minutes.

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