Facing the disaster of ecocide, how can we imagine the cinema? How can the fabrication of images and sounds continue to think outside of its usual production channels? My research questions the codes of the cinematographic language. Donna Haraway’s implacable words are its starting point : “With whose blood were my eyes crafted?”.

Beyond anthropocentrism, with living things, I try to perform a deconstruction of the moving image appearance means – from the poetic intimate to plural politics. By exploring hand-crafted film-making and being nourished by collection and gleaning, this cinema project stands between ecology and feminism. Its probes the abilities of vision (from the micro scale to the macro one) and dives through time into three places which question our relationships to images, memory and the Industrial Revolution : in Holland, Flanders and Iceland ; from the 17th century to nowadays ; starring Anna Merian’s botanical paintings and Spinoza’s telescopes ; starring the Agfa factory now being demolished – where all women on my mother’s side worked ; starring the island of Surtsey in Iceland, born in 1963 and destined for imminent disappearance due to the erosion of its fragile shoreline. I contemplate a “Minor Cinema”, according to the Deleuzian expression of “Minor Literature”. Far from domination, this project goes in quest of trouble images as well as image troubles, through the aesthetics of spontaneity and the exploration of water mirrors. Humans and non-humans are entangled. Observation instruments pursue the body for one disturbance of fixed and standardised identity memories, thus revealing new fictions, where the intimacy of the rigid memory is diffracted between the visible and the invisible.The project concretely needs time, film reels, lab work and travelling. Due to environmental issues and the will for a consistency between thought and production, trips will be performed by train towards France and the Netherlands and by boat towards Surtsey.