With a number of diverse studies, this special edition examines film and ecology. In his metatext, Tadej Troha considers the beginning and the end of climate crisis, Tomaž Grušovnik paints the modes of representing nature in films, while Kaja Kraner provides the historical premises of representing nature, foregrounding the term dark ecology. Based on unusual experiments, Becca Voelcker thinks about farmer-filmmakers, fieldwork and growth. Aljaž Škrlep presents vegetal film, while Maks Valenčič deals with film as a medium of encoding information and considers the limits of film. Oskar Ban Brejc centres on De Humani Corporis Fabrica by Sensory Ethnography Lab, while Polona Petek analyses Christopher Nolan’s Oppenheimer. Based on the case study of Alex Garland’s Annihilation, Veronika Šoster and Neja Rakušček question ecohorror and the new modes of the ecologically horrifying, while Matjaž Zorec serves the general line of our daily bread. Robert Kuret reflects on new materialisms that develop philosophy in relation to ecology in Ema Kugler’s film oeuvre, while Martin Pogačar thinks about humans, trains and nature through (not only) a documentary reconstruction of post-war Yugoslavia. In the Reviewed section, Darko Štrajn presents cinema as a transformative agency in art and its echoes.