The contemporary gaze, loaded with diverse theoretical “turns” – among them also the vegetal turn, which this paper focuses on – increasingly more often turns towards that which in film terminology is named ‘mise-en-scène’ or ‘backdrop’. This paper fragmentarily presents the history and methods of film representation of vegetal life and tries to orient contemporary filmmaking in the direction beyond the mere representation of plants and find ways of not-merely-representing, for example, the movement of vegetal growth, or, rather, ways of leaning in the direction of a film adaptation of vegetal non-anthropocentric phytophenomenology (vegetal phenomenology) and consistently following or joining the so-called vegetal thought.

The integral version of this article can be found in the printed KINO!