Canada, 2013, 100' 

From China to Bangladesh, from the US to India, a journey that, since the earliest images of majestic water swirls brutally contrasted with those of a vast parched area which used to be a riverbed, declares the theme of this work: water is a precious commodity but the use that humans have made and continue to make of it is leading to its quick depletion. 

On her second collaboration with photographer Edward Burtynsky after Manufactured Landscapes, dedicated to the impact of industrialization on the ecosystem, Canadian documentary filmmaker Jennifer Baichwal deals with a crucial theme for the survival of our planet, i.e., its water resources. The picturesque, almost spectacular approach is sustained by both impressive and dramatic pictures, and the beautiful footage as well as lyrical editing should not mislead the viewer: from the seemingly magnificent filmed sceneries results a deeply-felt reflection on the dangers of the future, unpromising and no longer distant. The title also sounds as a warning to remind us that, once the threshold is crossed, there is no turning back.

The event is finished.

Local Time

  • Timezone: America/New_York
  • Date: 11 Nov 2022
  • Time: 9:00


Spazio Alfieri
Spazio Alfieri - Via dell'Ulivo, 8, 50122 Florence
Jennifer Baichwal, Edward Burtynsky


Jennifer Baichwal, Edward Burtynsky

Jennifer Baichwal has been directing and producing documentaries for 25 years. Her last project, The Anthropocene Project, includes a touring exhibition, an art book, an educational program and a feature documentary film, Anthropocene: The Human Epoch (2018). She has been a Director of the Board of the Toronto International Film Festival since 2016. Into the Weeds is Baichwal’s tenth feature documentary. Edward Burtynsky is a contemporary photographer. His works are included in the collections of over 60 major museums around the world, including the MoMA, the Guggenheim Museum in New York, among others. Burtynsky produced the award-winning documentary trilogy, Jennifer Baichwal's Manufactured Landscapes (2006), Watermark (2013) and Anthropocene (2018).

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