Travelling throughout the Québecois countryside, Céline Baril presents the thoughts and observations of a wide variety of local points of view in her documentary La théorie du tout. The countryside is indirectly compared to a musical instrument that needs to be played in order to maintain its jaunty fluidity. Providing work for rural areas enables them to similarly maintain their communal vitality. But over production and obsessions with continually increasing profits have decimated resources that could have indefinitely supported them.
Changing technologies are lamented as a worker who has spent decades operating a specific machine must learn a new set of skills.
A young adult attached to her town wants to stay but her journalistic ambitions leave her with few employment opportunities.
Some individuals adapt and move from one industry to another as mining rejuvenates a struggling economy.
An ominous sense of anxiety pervades thoughts concerning the future of various fisheries as overflowing populations have been reduced to a fraction of their former plenitude.
The emphasis on providing rural workers/job seekers/small business owners/ . . . with the chance to voice their ideas and share their knowledge establishes a bucolic social democratic aesthetic which modestly illustrates sustainable development alternatives to the rapacious bottom line of 'moving forward' capitalists (without using the phrase).
A lot of people don't want to leave the town where they grew up or have lived and worked for most their lives. Sustainable development offers them with symphonic methodologies to orchestrate their futures along harmonic pastoral lines possessing environmentally sound melodies.
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