Dieter Wieczorek
Wieczorek is a film critic and regular contributor to Modern Times Review.

In Genesis 2.0 we follow Siberian tusk hunters uncovering animal bodies from the Siberian permafrost. If only one living cell could be recovered – the artificial reconstruction of a living mammoth would become possible.

Genesis 2.0

Christian FreiMaxim Arbugaev


«God’s word is still imperfect, but if we work together, we can make God perfect.»

This is only one of the provoking statements made by one of the leaders of the Earth BioGenome Project – the largest on-going project to decrypt the DNA structures of all living beings.

The Chinese BioGenome laboratory has undertaken one of the most complex and seminal challenges to scientific research in our time: the complete digital copy of life itself. The goal is to decode 3000 genome structures per year, and it will be achieved in the near future. €1000 is the current market price of a decrypted genome. About 2 million individual specimens have already been sampled and archived.

Although Christian Frei’s Genesis 2.0, featured in Vision de Réel in Nyon this April, starts rather inoffensively with natural scenery as its backdrop, the social criticism that the film presents should not be mistaken.

A dangerous journey through Siberian waters

The camera follows some of the mammoth tusk hunters working in the high and hidden northern regions of Siberia. Every year they risk a dangerous boat journey through the icy ocean to get to the «New Siberian Islands». Here, the melting permafrost unveils a remarkable number of the magnificent prehistoric animals. All of these mammoth tusk hunters are marked by symptoms of isolation and solitude, spending several months in this hostile area. For several hundred dollars they risk their lives. The real profit, however, is taken by middlemen who also pressure the crew to stop filming at the point when the tusks are handed over to them.

«One well-preserved horn could cover their modest living expenses for the following years

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