In this blog post, I will analyze the documentary ‘Genesis: The Salt of the Earth’, a collaboration between photographer Sebastião Salgado and Wim Wenders.

Film Overview

Title: Genesis: The Salt of the Earth / Genre: Documentary·Drama / Country: France, Italy, Brazil / Runtime: 110 minutes (Released February 26, 2015) / Directors: Wim Wenders, Juliano Ribeiro Salgado / Cast: Sebastião Salgado, Wim Wenders.
This film follows the life and work of photographer Sebastião Salgado, centering on his large-scale project “Genesis.” It confronts human existence amidst the wars, famine, and ecological destruction humanity has endured, and shows the world captured through Salgado’s viewfinder—from the vastness of nature to the process of planting trees to create forests on land that was once barren.

Reason for Selection

The word “Genesis” on the movie poster struck me deeply. It evoked the grand narrative of the creation of the universe, and I had high expectations that the film would vividly portray the life of an artist who has captured the present moment through photography.
As I was growing increasingly interested in the medium of photography, Salgado’s images left a powerful, lasting impression on me. His photographs freeze intense, sorrowful, and beautiful moments, delivering a breathtaking emotional impact. Conversely, witnessing sentimental and contrived charity ads that merely elicit pity made me yearn for genuine observation. That is why I wanted to watch this documentary, which closely examines Salgado’s life and work.
Additionally, the fact that director Wim Wenders—who has been recognized at numerous film festivals—participated, and that the photographer’s son, Juliano Ribeiro Salgado, co-directed the film, further convinced me to trust this work. Personally, I have a memory of gazing intently into the eyes of a portrait of my painter great-uncle, which made Salgado’s photographic world even more appealing to me.

Sequence Analysis

1. The Miners The film opens with harrowing scenes of miners working in a massive mine. The wide-angle shots of tens of thousands of miners climbing up and down unstable ladders and piles of dirt while carrying sacks maximize the sense of horror. The tension of guns pointed at them and the subtle sadness of living on the edge of death are evident in the images.
2. War and Famine The film continues by showing scenes of Africa where lives have been shattered by war and famine. From the moment a parent closes a child’s eyes, to scenes of bodies being washed with care, to the suspension of food rations and the ensuing mass deaths, the photographs capture an indescribable reality in a cold yet vivid manner.
3. Construction Labor Scenes of workers at construction sites also appear. The physicality of labor and the collective nature of the workforce are placed within a social context through these photographs.
4. EXODUS A sequence documenting the fate and migration of refugees over eight years reveals the tragedy of mass displacement in human history.
5. Instituto Terra This section covers the reforestation and local restoration activities in which Salgado participated, concretely illustrating humanity’s efforts to restore nature.
6. Genesis: Salgado expands his scope from a photographer primarily addressing social issues to capturing nature, animals, and pristine landscapes. He sought to find positive scenes within a broken world, and this process led to the decade-long “Genesis” project.

Analysis of the Film’s Structure and Style

The 1 hour and 50-minute runtime may feel longer than expected, but the film carries the narrative to its conclusion through narration and the arrangement of photographs alone. Rather than stimulating the audience with vibrant colors or music, it slowly draws them in through the power of the images and the rhythm of the narration. The narration often pauses for more than five seconds at a time, proceeding slowly—a technique that transforms what could otherwise be tedious moments into a rhythm that actually aids concentration.
The fact that much of the film is presented in black and white is also significant. While there are some color scenes, the overall use of black and white appears intended to reveal human suffering and dignity through form, expression, light, and darkness rather than color. In other words, color serves not as a decoration for emotion but as a means of conveying the message.
Technically, the film stands out for its minimal use of effects—such as transitions that naturally link interviews and photographs—and its well-organized structure. Although it explores different themes—famine, war, and the destruction and regeneration of the forest—using distinct structures, the film maintains a natural flow with underlying connections, weaving them into a single cohesive narrative.
There are moments when the relationship between the director and the subjects (actors) is revealed on screen, blurring the line between reality and direction. Scenes where the actors communicate with the director and help guide the film add to its authenticity and immersive quality. Overall, Salgado’s goal is to revive the forest and restore humanity, and the completion of the “Genesis” collection serves as the film’s central axis, hinting at this intention.
It is difficult to find any real flaws. However, the slow pace of the footage means that viewers may lose immersion during moments when their attention wanders.

Conclusion

Salgado’s viewfinder through which he observes the world, and our gaze as we watch him, are the core of this film. From the desolation of coal mining towns and the barren wasteland before reforestation to the horrors of famine and war, and finally to the regenerated forest—the film presents these scenes with solemn gravity.
While many films highlight social issues, this work offers a different perspective. As a photographer who documented society’s dark side, Salgado rediscovered the beauty of nature and, through this, presents an indirect hope for restoring human dignity and healing sorrow. The scene at the end, where Salgado looks upon the lush forest and resolves to spend the rest of his life there, encapsulates the film’s message.
What I learned from this film was not a specific technique or a definitive answer, but rather a direction on “how to view humanity.” Photography conveys emotions and evokes thoughts like a universal language. Salgado’s photographs and this film will leave various aftertastes and questions for each viewer.