Nonfiction cinema is framed as a relational, ecological practice capable of resisting necropolitical border regimes by turning the shoreline—an unstable threshold of land/water and contact—into a model for cohabitation amid colonial violence, environmental crisis, and unequal power. Drawing on Mbembe, Anzaldúa, Arendt, and Latour, the program theorizes documentary as mediated “diplomatic encounter”: a performative convocation that rejects transparency and ethnographic extraction, using aesthetic experimentation (aisthesis) to produce partial yet shareable descriptions through which viewers renegotiate reality and the possibility of a common world.

Planetary crisis and technocapitalist “control” are framed as a pathological narrowing of sensibility that cancels life’s norm-making capacity (Canguilhem/Dewey), yet the very affects of wrongness, depression, and disorientation can function as feedback signals and insurgent forces for new forms of reciprocity, imagination, and collective world-making. Against semiocapitalist tautological images and extractivist posthuman spectacle (critiqued via Huyghe/Emmelhainz), the text reclaims an eco-aesthetic continuum between feeling, environment, and expression (ZAD/Weber/Haraway/Moten & Harney) while insisting—through Bachelard—on imagination’s irreducible leap beyond environmental determination.