A quietly provocative consideration of the mechanized sublime, Jennifer Baichwal's documentary follows Canadian photographer Edward Burtynsky as he travels through China and Bangladesh recording large-scale industrial incursions into the landscape. Opening with a stunning eight-minute tracking shot that traverses a mind-bogglingly vast Chinese factory floor full of color-coordinated workers, Peter Mettler's acute cinematography both mimics the formal beauty of Burtynsky's acclaimed images and considers his subjects-manufacturing sites, shipbreaking yards, e-waste dumps-from a subtly different perspective. “It's a very broad view,” comments a resident of a town being dismantled to make way for the Three Gorges Dam, given one of Burtynsky's Polaroids. “It's hard to see the details.” Baichwal and Mettler move in for a closer view, hinting at the individual human presence in these devastated landscapes, and suggesting some inconvenient questions-not only about the impact of global industry on places and people, but also about where aesthetics end and ethics begin.