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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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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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Cicih Sukaesih’s North America Nike Tour

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Sport & Fitness | Fashion

Cicih Sukaesih’s North America Nike tour
A speaker tour of North America by sacked Indonesia Nike factory worker Cicih Sukaesih, sponsored by Global Exchange, Working Group on Nike, Press 4 Change, Campaign for Labor Rights, Canadian Auto Workers, Operation PUSH, Jobs for Justice, Amnesty International, Frontlash (a branch of the AFL-CIO) and the Alberta Federation of Labour.
Newspaper report reproduced above. Search for a 2017 BBC interview with Cicih Sukaesih about this tour here.

Indonesian Nike factory worker Cicih Sukaesih is sacked for organising a successful strike action for minimum wages and better conditions. So North American anti-sweatshop organisations recruit her to front a multi-city tour with stops in New York City. Chicago, San Francisco, Vancouver, Toronto … She wants Nike CEO Phil Knight and basketball star Michael Jordan to explain the price of the shoes she has made, their astronomical pay and her colleagues’ extraordinarily bad pay and conditions. She visits Nike’s HQ, leads protests at its Nike Town stores, describes the working conditions she has experienced, urges supporters to write to Jordan to persuade him to use his celebrity power to help factory workers and urges Nike to reinstate her and her sacked colleagues. She sometimes tries on a pair of Nike shoes in store. Wearing them makes her feel distinguished. But their price tag would eat up two or three months of her salary. Where does all that money go? Her removal from a store by Nike security staff after trying on the Nike shoes she makes is quite a spectacle. A perfect scene for media coverage that can make Nike’s sweatshop problem a public concern. We love this example of trade justice activism. Conventionally it’s a Western consumer who travels to the Global South to meet their makers. Sukaesih goes in the opposite direction. She’s looking to connect with others in the worlds of retail and consumption who care about trade justice, to act together in solidarity. She’s doing this by working with campaigning NGOs and public relations, media-savvy activists, working together on a new kind of trade justice activism. But what should the protestors who join them do? Put pressure on the company by boycotting it? Sukaesih say no. Don’t do that! That’s going to harm her friends and former colleagues back home. Let them keep their jobs, but with much better pay and conditions, paid for by Nike. The company can afford it. There’s lots of Nike sweatshop activism taking place at this time. And the company does act. Or gives the impression that it’s acting. You decide.

Page reference:Alex Fanshawe, Lorian Douglas Dufresne, Frances Nicholson, Josh Perkins, Oscar Cator & Charlie Beere (2024) Cicih Sukaesih’s North America Nike tour. followthethings.com/cicih-sukaesihs-north-america-nike-tour.shtml (last accessed <insert date here>)

Estimated reading time: 68 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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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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China, Britain And The Nunzilla Conundrum

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Gifts & Seasonal

China, Britain And The Nunzilla Conundrum
A radio documentary presented by Anna Chen (a.k.a. Madam Miaow), produced by Sally Heaven for BBC Radio 4.
Audio clip embedded above. Listen to the full radio documentary on the BBC website here (when available, with account, screengrab above) and on Box of Broadcasts here (with University subscription).

Chinese-English comedian and writer Anna Chen loves kitsch, ‘tat’, and (to some) offensive ‘stocking filler’ gifts like the clockwork fire breathing nun ‘Nunzilla’ and ‘Dashboard Jesus’ (not to mention elastic band holder ‘Mummy Mike’ and singing fish ‘Billy Bass’). Unsurprisingly, they’re ‘Made in China’ but, she wants to find out, what do they tell us and the people who design and make them about Western culture, religion and values? What gets lost and found in translation? And what do the factory workers who make them think they are for? How do they imagine the people who buy them? And what can tracing the relations between the designers, makers and consumers of cheap plastic kitsch tat tell us about China-UK relations? This is a serious piece of cross-cultural commodity following. It’s enjoyable and worrying. But there aren’t any exploited workers. What’s it hoping to achieve?

Page reference: Ian Cook et al (2024) China, Britain And The Nunzilla Conundrum. followthethings.com/china-britain-and-the-nunzilla-conundrum.shtml (last accessed <insert date here>)

Estimated reading time: 15 minutes.

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