Evolution (Lucile Hadžihalilović, 2016) offers a vision of Donna J. Haraway's feminist intervention where Haraway posits her neologistic chthulucene to signify the interpenetration of species in response to anthropocene discourse which recuperates the patriarchal narrative of homo faber – the human as maker. The risks and tribulations of cross-species “becoming-with”, as Haraway puts it, are dramatized in Evolution. The ambiguously defined, subaqueous species of the film nurture and care for human boys then impregnate them with squid-like creatures that are incubated in the child's mid-section. The film is marked by images that are difficult to anthropomorphise, eliciting corporeal engagements with tentacular sea creatures that are alienating and confronting. Evolution presents images that are in sympathy with Haraway's chthulucene, in which the subject dissolves into the matter of “humus” or “compost” that ontologically bind the human and nonhuman alike. The film signals a reverse evolution in which humans return to the sea, a temporal backwards turn that Haraway similarly advocates in her book. While Evolution plays out Haraway's chthonic vision in which it shows a subject, Nicolas, embedded in a compost community, the film nonetheless situates this subject as bounded and coherent. Evolution does not, ultimately, forego the human but offers a chance to comprehend the human's transformation in the historical moment of the anthropocene.
O homo faber, de usuário de ferramentas a objeto tecnológico
