Taking Denis Villeneuve's Blade Runner 2049 as a point of departure, this essay argues that cinema's stories of species survival at once hide and duplicate the racialization of matter that has marked the history of geology and, more recently, the discourse of the Anthropocene. In the process, what is erased is also the memory of other stories that could have been told, stories that emerge out of a history of violence against Black being—what Hortense Spillers calls “high crimes against the flesh”—and that demand a temporality and a point of view that the cinema of the Anthropocene denies them.

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