The ritualised excess of life aboard a cruise ship is tragic and parodic by turns

The cruise industry as it exists today – somewhat affordable, aggressively fun, indulgent by design – is a relatively new phenomenon, rooted in the 1960s, when passenger ships struggled to compete with air travel. After a pivot to all-inclusive pleasure voyages, cruising is now a $45 billion industry, beloved by some for its budget-friendly luxuries and amenities, and bemoaned by others for its environmental toll, treatment of workers, and – as highlighted by the COVID-19 pandemic – health risks.

The observational documentary All Inclusive drops viewers head-first into the strange rituals of tableside conga lines, captain meet-and-greets and pool cannonball contests that characterise the cruise experience. While the Swiss director Corina Schwingruber Ilić’s tongue-in-cheek tone permeates throughout, the film offers more than just an invitation to gawk, as ‘fun’ plays out in a series of over-the-top pastimes, hinting at the economic and social stratification between guests and workers.

What the Martian surface looked like to Oppy – humanity’s most resilient rover

When NASA successfully landed the Mars Exploration Rover Opportunity – nicknamed ‘Oppy’ – in 2004, the plan was to explore the Martian terrain for 90 days. Through expert engineering and careful handling, Oppy was able to exceed its designed lifespan 60 times over, exploring the planet for nearly 15 years. Over the course of its impressive expedition, Oppy made a number of key geological discoveries and broke several records, including longest off-world distance travelled at 28 miles. Then, in 2018, following one of the most intense dust storms ever recorded on Mars, Oppy relayed its final message to Earth: ‘My battery is low and it’s getting dark.’ This short video from the US filmmaker John D Boswell, also known as melodysheep, uses images captured by Oppy and music composed using the sounds of Martian winds to pay anthropomorphic tribute to the resilient rover – and by extension, those responsible for its awe-inspiring journey.

One banknote per hour of work – Robert Owen’s utopian reboot of money

The Welsh-born manufacturer and social reformer Robert Owen (1771-1858) was a quintessential capitalist success story, having risen from modest origins to become a wealthy textile manufacturer in Scotland. However, he grew to reject the dehumanising excesses of the system that had ushered in his fortune, writing that Britain’s monetary structure ‘has made man ignorant; placed him in opposition to his fellows; engendered fraud and deceit; blindly urged him forward to create but deprived him of the wisdom of joy’. This led Owen to devise an audacious plan to recentre the financial system around ingenuity, community and justice.

Introduced in 1832, the radical idea was called the National Equitable Labour Exchange – a system of currency built on the idea that labour is the source of all wealth, and that goods should be bought and sold based on the time it took labourers to produce it. While the Exchange lasted only a few years, the idealistic project helped to lay the groundwork for some of Owen’s more successful later reforms, such as shorter working days, with the ultimate goal of a workday based on the principle of ‘eight hours labour, eight hours recreation, eight hours rest’. This brief video essay is part of a British Museum series in which curators examine objects of interest in their collections. Ben Alsop, curator of the museum’s Money Gallery, inspects a note issued by the Equitable Labour Exchange representing an hour of work.

Kerala’s skilled hand-weavers struggle to survive the rising tides of modernity

The Indian-born, US-based filmmaker Natasha Nair’s short documentary In the Wake brings viewers inside the colourful and tactile world of a weaving community in Kerala, the state on India’s southwest coast still recovering from the wreckage of flooding in 2018. The skilled weavers produce textiles for sarees, the traditional South Asian women’s garments, and must fully engage their bodies and minds in their work, the craft of which has been passed down through generations. In addition to natural disasters, the mostly female workers must also contend with competition from power-loom machines producing sarees that can be sold at half the price of their own hand-loomed products. Nair skilfully captures the vivid hues and kinetic sounds of the work, while her brief portrait of craft ponders if the rich tradition of the Kerala weavers can ultimately survive the rising tides of modernity.

Walt Whitman’s poetry frames scenes from 1920s New York in this film classic

Numberless crowded streets, high growths of iron, slender, strong,
light, splendidly uprising toward clear skies …

Billed as ‘a study of the modern Babylon-on-the-Hudson’, the short film Manhatta (1921) captures the rapidly developing cityscape of New York in the early 1920s. Made in collaboration between the US photographer Paul Strand (1890-1976) and the US painter Charles Sheeler (1883-1965), the piece is widely regarded as the first American avant-garde film, as well as the first of the non-narrative urban documentaries known as ‘city symphones’. The influential work traces the rich contours of a modern metropolis via a series of dramatic vignettes, as guided by Walt Whitman’s poem ‘Mannahatta’ from his collection Leaves of Grass (1855-1892). This version of Manhatta features a 2k digital restoration of the original 35mm film print, as well as a new score from the Illinois-based composer William Pearson commissioned by Aeon, with movements inspired by the film’s symphonic structure.