Donna Haraway: Story Telling for Earthly Survival
€ 8 / € 6
EN > NL / FR
Meet the artist after the film on 27/05
Donna Haraway is a prominent scholar in the field of science and technology, a feminist, and a science-fiction enthusiast who works at building a bridge between science and fiction. She became known in the 1980s through her work on gender, identity, and technology, which broke with the prevailing trends and opened the door to a frank and cheerful trans species feminism. Haraway is a gifted storyteller who paints a rebellious and hopeful universe teeming with critters and trans species, in an era of disasters. Brussels filmmaker Fabrizio Terranova visited Donna Haraway at her home in California, living with her – almost literally, for a few weeks, and there produced a quirky film portrait. Terranova allowed Haraway to speak in her own environment, using attractive staging that emphasised the playful, cerebral sensitivity of the scientist. The result is a rare, candid, intellectual portrait of a highly original thinker.
Donna Haraway, Rusten Hogness, Cayenne Pepper
Written & directed by
Laurent Baudoux & The Fan Club Orchestra
Alain Clément, Patrick Theunen
Digital crochet coral reef animation
Olivier Marboeuf, Javier Packer-Comyn
Atelier Graphoui (Brussels)
Kunstenfestivaldesarts, Spectre Productions (Rennes), CBA – Centre de l’audiovisuel (Brussels), Fabbula (Barcelona), Rien à Voir (Brussels)
Centre du Cinéma et de l’Audiovisuel de la Fédération Wallonie-Bruxelles
Story Telling for Earthly Survival
Donna Haraway is one of the strongest and most relevant voices of our age, someone who enables us to think about what is happening to us today by, as I wrote on the occasion of the translation into French of one her books, “producing hope on the brink of the abyss”. She embodies today what can be described as “ecosophical” thinking – acute, demanding, not taking the easy route, but conveying a propositional power we desperately need.
Admittedly Haraway is only starting now to be translated into French, and this delay can be attributed in part to the difficulty of her language. But when she talks, the intensity, humour and sincerity she expresses make this difficulty disappear. Fabrizio Terranova’s film should be a real revelation to anyone who finds her a difficult writer, and should be shown in several places, including research centres and anywhere in the world where tomorrow’s thinking is being worked on.
Fabrizio Terranova’s cinematic choice, a pseudo-realist but discretely fictional one, corresponds very precisely to the mode of presence that makes this portrait a model of integrity. Neither taking over nor offering a neutral opinion, it is a device that constrains Haraway no more than it constrained Josée Andréi, the subject of his first, admirable film, but leaves them to use their own mode of being honest and entrusts in the work of the image the responsibility of turning this recorded document into a co-created documentary work. I am profoundly grateful to this director for knowing how to use his talent, his intelligence and his sensitivity to serve what will be a real transmission of intelligence and emotion. I would also like to emphasise the exceptional confidence that he was able to inspire in Haraway, whose recorded lectures are so far all we know about her, allowing her to give free rein to a “thought” live.
Isabelle StengersBack to top
Fabrizio Terranova , who lives and works in Brussels, is a film-maker, activist, dramaturge, and teacher at erg (École de recherche graphique) in Brussels, where he launched and co-runs the master’s programme in Récits et expérimentation/Narration spéculative (Narrations and experimentation/ Speculative narration). Terranova is the author of Josée Andrei, An Insane Portrait, an experimental documentary that was turned into a book published by Les Editions du souffle. He is also a founding member of DingDingDong – an institute to jointly improve knowledge about Huntington’s disease. He has recently published the article “Les Enfants du compost” in the joint publication Gestes spéculatifs (Les Presses du réel, 2015).Back to top