Fragile: Top 10 Eco-Flicks

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 17, 2026)

Look at the powerful people
Stealing the sun from the day
Wish I could do something about it
When all I can do is pray

– from “Powerful People” by Gino Vannelli

If we dig precious things from the land, we will invite disaster.

Near the Day of Purification, there will be cobwebs spun back and forth in the sky.

A container of ashes might one day be thrown from the sky, which could burn the land and boil the oceans

– Hopi Prophecies sung in the soundtrack of the film Koyannasqatsi

Next Wednesday (April 22nd) is Earth Day. You don’t seem to hear much about Earth Day anymore; I suppose the media has had other shiny things to chase after; important and impactful stories to be sure, but from a planetary perspective…will all of this fussing and fighting really matter in 50 years? As Grace Slick once sang, doesn’t mean shit to a tree. Believe me, over the millenniums Mother Nature has seen worse; and from her perspective, Earth is only mostly dead.

So there is still hope…right? Oh, mercy mercy me:

The Trump administration started 2026 off with an especially grim policy change: When placing limits on certain deadly air pollutants, the Environmental Protection Agency (EPA) will no longer factor in the value of human health — only the expense of regulations for polluters.

The new policy will apply to two particularly harmful pollutants: fine particulate matter and ozone. Both have been linked to a range of health impacts, including asthma, dementia, heart disease, and premature death.

“The Trump administration is saying, literally, that they put zero value on human life,” Marshall Burke, an environmental economist at Stanford University, told The New York Times. “If your kid breathes in air pollution from a power plant or industrial source, EPA is saying that they care only insofar as cleaning up that pollution would cost the emitter.”

The change marks a significant break from precedent. For decades, the federal government has placed a monetary value on a human life — $11.7 million, to be exact — and used that metric to weigh the costs of regulation against the benefits to human health. It’s believed that this long-term practice has prevented hundreds of thousands of deaths from air pollution in the United States. […]

The Trump administration has been slashing its way through the US Environmental Protection Agency (EPA), claiming that states can take on more responsibility for environmental oversight. But guess what? More than half of US states are woefully unprepared. It turns out they, too, have been hacking away at their own environmental agencies for the past 15 years.

According to a new report by the Environmental Integrity Project (EIP), since 2010, 27 US states have downsized budgets and 31 have cut staff at their own public health and environmental agencies that usually work in collaboration with the EPA. Collectively, these states have cut about $1.4 billion from their environmental agencies, or about 33 percent of the nation’s spending on state-level environmental regulation, says the report.

“These deep reductions mean that … not only will the federal pollution cop no longer be on the beat, state authorities may not show up either,” the report notes. As a result, there will be fewer inspections of polluting industries and weaker enforcement. “It really means that more American communities are at risk of being exposed to industrial pollution,” Jen Duggan, EIP’s executive director, told usa today.

Seven states — including Texas, where industry is growing rapidly — have reduced pollution-control funding by at least one-third, increasing the risk of industrial accidents and exposure to pollution. Mississippi slashed its environmental agency’s budget by 71 percent from 2010 through 2024; South Dakota by 61 percent.

One bright spot from the report: A handful of states — including California, Colorado, and Massachusetts — have moved in the opposite direction, building up their state environmental agencies.

OK…so there is one bright spot. I’ll take it. Speaking of bright spots:

The four astronauts of Artemis II say their mission gave the world a sense of hope and unity at a time when both feel in short supply.

At their first Nasa news conference since returning last Friday, Reid Wiseman, Victor Glover, Christina Koch and Jeremy Hansen said they left as friends and came back as something closer – bound by an experience that no earthly language can fully contain.

More than the technical milestones, the mission reminded them of what being human actually means: laughter, joy, tears, and an instinct toward one another that transcends borders. […]

Artemis II carried its crew further from Earth than any humans have ever gone, swinging around the far side of the Moon in just over nine days. Victor Glover became the first black astronaut to reach deep space; Christina Koch the first woman; Jeremy Hansen the first Canadian.

For Koch, the scale of what they had done only became clear through others’ eyes when her husband told her on a video call that the mission had cut through divisions and united people. She found herself undone.

“When my husband looked me in the eye on that video call and said, ‘No, really, you’ve made a difference’,” she told reporters, “it brought tears to my eyes, and I said, that’s all we ever wanted.”

Glover talked about it being an experience shared by the entire world.

“I think something that we all feel and we try to share is how much we want to reflect back to you all how we did this, not we as a crew, we as countries and as humans did this,” he said.

Thinking about that, he said, brought to mind “the picture of the Earth as we started to go farther” as they traveled close to the moon and how they talked about “looking at you and how beautiful Earth is”.

Yes, it is quite beautiful, isn’t it?

So don’t fuck it up. Or, as Carl Sagan (more eloquently) put it:

“To my mind, there is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly and compassionately with one another and to preserve and cherish that pale blue dot, the only home we’ve ever known.”

To honor that “pale blue dot”, my top 10 eco-flicks for Earth Day:

Chasing Ice – Jeff Orlowski’s film is glacially paced. That is, “glacial pacing” ain’t what it used to be. Glaciers are moving along (“retreating”, technically) at a pretty good clip. This does not portend well. To be less flowery: we’re fucked. According to nature photographer (and subject of Orlowski’s film) James Balog, “The story…is in the ice.”

Balog’s journey began in 2005, while on assignment in the Arctic for National Geographic to document the effect of climate change. Up until that trip, he candidly admits he “…didn’t think humans were capable” of influencing weather patterns so profoundly. His epiphany gave birth to a multi-year project utilizing modified time-lapse cameras to capture alarming empirical evidence of the effects of global warming.,

The images are beautiful, yet troubling. Orlowski’s film mirrors the dichotomy, equal parts cautionary eco-doc and art installation. The images trump the montage of inane squawking by climate deniers in the opening, proving that a picture is worth 1,000 words. Full review

The Emerald Forest– Although it may initially seem a heavy-handed (if well-meaning) “save the rain forest” polemic, John Boorman’s underrated 1985 adventure (a cross between The Searchers and Greystoke: The Legend of Tarzan) goes much deeper.

Powers Boothe plays an American construction engineer working on a dam project in Brazil. One day, while his wife and young son are visiting the job site on the edge of the rain forest, the boy is abducted and adopted by an indigenous tribe who call themselves “The Invisible People”, touching off an obsessive decade-long search by the father. By the time he is finally reunited with his now-teenage son (Charley Boorman), the challenge becomes a matter of how he and his wife (Meg Foster) are going to coax the young man back into “civilization”.

Tautly directed, lushly photographed (by Philippe Rousselot) and well-acted. Rosco Pallenberg scripted (he also adapted the screenplay for Boorman’s 1981 film Excalibur).

Godzilla vs. the Smog Monster – I know what you’re thinking: there’s no accounting for some people’s tastes. But who ever said an environmental “message” movie couldn’t also provide mindless, guilty fun? Let’s have a little action. Knock over a few buildings. Wreak havoc. Crash a wild party on the rim of a volcano with some Japanese flower children. Besides, Godzilla is on our side for a change. Watch him valiantly battle Hedora, a sludge-oozing toxic avenger out to make mankind collectively suck on his grody tailpipe. And you haven’t lived until you’ve heard “Save the Earth”-my vote for “best worst” song ever from a film (much less a monster movie).

An Inconvenient Truth – I re-watched this recently; I hadn’t seen it since it opened in 2006, and it struck me how it now plays less like a warning bell and more like the nightly news. It’s the end of the world as we know it. Apocalyptic sci-fi is now scientific fact. Former VP/Nobel winner Al Gore is a Power Point-packing Rod Serling, submitting a gallery of nightmare nature scenarios for our disapproval. I’m tempted to say that Gore and director Davis Guggenheim’s chilling look at the results of unchecked global warming only reveals the tip of the iceberg…but it’s melting too fast.

Koyannisqatsi – In 1982 this genre-defying film quietly made its way around the art houses; it’s now a cult favorite. Directed by activist/ex-Christian monk Godfrey Reggio, with beautiful cinematography by Ron Fricke (who later directed Chronos, Baraka, and Samsara) and music by Philip Glass (who also scored Reggio’s sequels), it was considered a transcendent experience by some; New Age hokum by others (count me as a fan).

The title (from ancient Hopi) translates as “life out of balance” The narrative-free imagery, running the gamut from natural vistas to scenes of First World urban decay, is open for interpretation. Reggio followed up in 1988 with Powaqqatsi (“parasitic way of life”), focusing on the First World’s drain on Third World resources, then book-ended his trilogy with Naqoyqatsi (“life as war”).

Manufactured Landscapes – A unique eco-documentary from Jennifer Baichwal about photographer Edward Burtynsky, who is an “earth diarist” of sorts. While his photographs are striking, they don’t paint a pretty picture of our fragile planet. Burtynsky’s eye discerns a terrible beauty in the wake of the profound and irreversible human imprint incurred by accelerated modernization. As captured by Burtynsky’s camera, strip-mined vistas recall the stark desolation of NASA photos sent from the Martian surface; mountains of “e-waste” dumped in a vast Chinese landfill take on an almost gothic, cyber-punk dreamscape. The photographs play like a scroll through Google Earth images, as reinterpreted by Jackson Pollock. An eye-opener. Full review

Princess Mononoke – Anime master Hayao Miyazaki and his cohorts at Studio Ghibli have raised the bar on the art form over the past several decades. This 1997 Ghibli production is one of their most visually resplendent. Perhaps not as “kid-friendly” as per usual, but many of the usual Miyazaki themes are present: humanism, white magic, beneficent forest gods, female empowerment, and pacifist angst in a violent world. The lovely score is by frequent Miyazaki collaborator Joe Hisaishi. For another great Miyazaki film with an environmental message, check out Nausicaa Valley of the Wind.

Queen of the Sun – I never thought that a documentary about honeybees would make me laugh and cry-but Taggart Siegel’s 2010 film did just that. Appearing at first to be a distressing examination of Colony Collapse Syndrome, a phenomenon that has puzzled and dismayed beekeepers and scientists alike with its increasing frequency over the past few decades, the film becomes a sometimes joyous, sometimes humbling meditation on how essential these tiny yet complex social creatures are to the planet’s life cycle. Humans may harbor a pretty high opinion of our own place on the evolutionary ladder, but Siegel lays out a convincing case which proves that these busy little creatures are, in fact, the boss of us. Full review

Silent Running – In space, no one can hear you trimming the verge! Bruce Dern is an agrarian antihero in this 1972 sci-fi adventure, directed by legendary special effects wizard Douglas Trumbull. Produced around the time “ecology” was a buzzword, its message may seem a little heavy-handed today, but the film remains a cult favorite.

Dern plays the gardener on a commercial space freighter that houses several bio-domes, each dedicated to preserving a species of vegetation (in this bleak future, the Earth is barren of organic growth).

While it’s a 9 to 5 drudge gig to his blue-collar shipmates, Dern sees his cultivating duties as a sacred mission. When the interests of commerce demand the crew jettison the domes to make room for more lucrative cargo, Dern goes off his nut, eventually ending up alone with two salvaged bio-domes and a trio of droids (Huey, Dewey and Louie) who play Man Friday to his Robinson Crusoe. Joan Baez contributes two songs on the soundtrack.

Soylent Green – Based on a Harry Harrison novel, Richard Fleischer’s 1973 film is set in 2022, when traditional culinary fare is but a dim memory, due to overpopulation and environmental depletion. Only the wealthy can afford the odd tomato or stalk of celery; most of the U.S. population lives on processed “Soylent Corporation” product. The government encourages the sick and the elderly to politely move out of the way by providing handy suicide assistance centers (considering ongoing threats to our Social Security system, that doesn’t seem much of a stretch anymore).

Oh-there is some ham served up onscreen, courtesy of Charlton Heston’s scenery-chewing turn as a NYC cop who is investigating the murder of a Soylent Corporation executive. Edward G. Robinson’s moving death scene has added poignancy; as it preceded his passing by less than two weeks after the production wrapped.