In Nikolaj Arcel’s cinematic adaptation of Ida Jessen’s literary work The Captain and Ann Barbara, titled The Promised Land (2023), the expansive canvas of Jutland’s untamed landscapes serves as a battleground where humanity’s quest for dominion over nature intersects with ecological stewardship and gender dynamics. Grounded in the rich soil of eco-feminist discourse, this exploration delves into the intricate tapestry of gender, ecology, and power. Scholars such as Vandana Shiva (1989), Carolyn Merchant (1980), Maria Mies (1986), Greta Gaard (2017), and Ariel Salleh (1997) provide the theoretical framework guiding our analysis.

Overview of the Film’s Plot and Visuals

The Promised Land unfolds against the rugged backdrop of Jutland’s heathlands, a vast expanse that mirrors the untamed wilderness of human ambition and ecological balance. Capt. Ludvig Kahlen, portrayed by the enigmatic Mads Mikkelsen, emerges as a central figure navigating this landscape of contradictions. The film’s visual narrative unfolds with sweeping aerial shots that capture the raw beauty of the natural world juxtaposed with intimate close-ups that reveal the complexities of human emotion and interaction. Through the lens of cinematography, the audience is invited to embark on a visceral journey, where the struggle for power and harmony plays out against the backdrop of wind-swept plains and brooding skies.

Overview of Eco-Feminism

Eco-feminism emerges as a multifaceted discourse that seeks to dismantle the intersecting systems of oppression that exploit both women and nature. At its core, eco-feminism challenges the binaries of domination and submission, drawing attention to the interconnectedness of gender, ecology, and power dynamics. Vandana Shiva’s seminal work Staying Alive: Women, Ecology, and Development (1989) highlights the inherent links between environmental degradation and the subjugation of women, laying the groundwork for eco-feminist praxis.

Carolyn Merchant’s exploration of the historical relationship between women and nature in The Death of Nature: Women, Ecology, and the Scientific Revolution (1980) further illuminates how patriarchal structures have shaped our understanding of the natural world.

Maria Mies’ critique of capitalist exploitation and its impact on women and nature in Patriarchy and Accumulation on a World Scale (1986) provides a lens through which to examine the systemic injustices perpetuated by capitalist economies.

Greta Gaard’s advocacy for an ethic of care in Critical Ecofeminism (2017) underscores the importance of nurturing relationships and interconnectedness in addressing ecological crises. Ariel Salleh’s analysis of political ecology in Ecofeminism as Politics: Nature, Marx, and the Postmodern (1997) offers insights into how power dynamics shape environmental policies and practices.

Visual Style and Narrative Embodiment

The visual style of The Promised Land, serves as a mirror reflecting the eco-feminist themes embedded within its narrative. Through evocative imagery and symbolism, the film invites viewers to contemplate the interconnectedness of human and non-human life, challenging traditional notions of hierarchy and domination. For example, the sweeping aerial shots of Jutland’s landscape evoke a sense of awe and reverence for the natural world, highlighting its intrinsic value beyond mere utility.

Meanwhile, the intimate close-ups of the characters’ interactions with the land underscore the importance of embodied knowledge and emotional connection in ecological stewardship. These visual elements work in tandem with the film’s narrative structure to foreground the eco-feminist themes of care, reciprocity, and interconnectedness.

Dualisms and Hierarchies

Amanda Collin

The film interrogates entrenched dualisms and hierarchical structures that underpin systems of oppression, both within human society and in relation to the natural world. Vandana Shiva’s critique of binary oppositions finds resonance in Capt. Kahlen’s defiance against the notion of an untameable wilderness. Through his labour and interaction with the land, Kahlen challenges the artificial divide between humanity and nature, embodying a vision of symbiotic coexistence rather than domination. Similarly, Carolyn Merchant’s exploration of the historical construction of nature as passive and feminised echoes the film’s portrayal of the land as a dynamic and powerful force in its own right, capable of shaping human destinies.

Intersectionality

Amidst the sprawling heath, the characters of The Promised Land navigate intersecting webs of privilege and marginalisation, echoing Maria Mies’ critique of capitalism’s exploitation of women and nature. Ann Barbara (Amanda Collin) and Anmai Mus (Melina Hagberg), portrayed with depth and nuance, embody the silenced voices of the marginalised, whose struggles for justice are intertwined with the broader quest for ecological harmony. Through their narratives, the film highlights the importance of recognising and addressing intersecting forms of oppression in the fight for environmental justice.

Care Ethics

In the midst of turmoil, moments of tender care emerge as beacons of hope amidst the harsh landscape, reflecting Greta Gaard’s advocacy for an ethic of care. Kahlen’s nurturing embrace of the land and its inhabitants underscores the importance of fostering relationships based on reciprocity and compassion. His cultivation of the land becomes a testament to the sacred bond between humanity and nature, where each action is imbued with reverence and responsibility.

Environmental Justice

The struggle for environmental justice reverberates through the windswept plains of Jutland, where Kahlen’s defiance becomes a clarion call against colonialism and exploitation. Vandana Shiva’s plea for the rights of marginalised communities finds resonance in his solitary stand against the encroaching shadows of privilege. His resolve unyielding amidst the tumult of greed and avarice, Kahlen embodies the spirit of resistance against oppressive forces.

Political Ecology

At the heart of The Promised Land lies the dialectic of power and resistance, where Kahlen’s quest for autonomy becomes emblematic of a broader struggle against systems of domination and exploitation. Ariel Salleh’s analysis of political ecology resonates with his confrontation with the entrenched forces of aristocracy. Each clash echoes the timeless battle between oppressor and oppressed, each victory a testament to the indomitable spirit of humanity.

Conclusion

In the verdant expanse of The Promised Land, where heather blooms amidst the whispers of forgotten dreams, the echoes of eco-feminist discourse resonate with the solemn cadence of nature’s song. Through the prism of cinematic narrative, we glimpse a world where resilience triumphs over adversity, where solidarity becomes a beacon amidst the encroaching shadows of despair. Here, amidst the windswept plains of Jutland, we reclaim Eden, not as a distant memory, but as a promise renewed with each heartbeat, each breath, each step towards liberation.

Bibliography:

Arcel, N., & Jensen, A. T. (Directors). (Year). The Promised Land [Film]. Production Company.

Merchant, C. (1980). The Death of Nature: Women, Ecology, and the Scientific Revolution. HarperOne.

Mies, M. (1986). Patriarchy and Accumulation on a World Scale. Zed Books.

Shiva, V. (1989). Staying Alive: Women, Ecology, and Development. Zed Books.

Gaard, G. (2017). Critical Ecofeminism. Rowman & Littlefield International.

Salleh, A. (1997). Ecofeminism as Politics: Nature, Marx, and the Postmodern. Zed Books.