The French-Swiss artist Julian Charrière’s film starts in a dark cosmos. As time passes, lights begin to flicker and flare, suggesting the beginning of time – an initial moment of creation. In a slow crescendo, the lights are revealed as fireworks, which implode rather than explode, illuminating derelict buildings associated with fossil fuel production and resource extraction: an abandoned oil rig, an open-pit coal mine and the cooling tower of a power plant. All of humankind’s history has been a search for energy, for light. To this day, we are locked to this quest, which is linked to the Western narrative of the need for constant technological progress. The Three Chimneys is itself a symbol of the large byproducts of this quest. Presented in this evocative locale, Charrière’s film – a dystopian vision of excess and exploitation, as well as a celebration of the dereliction of these extraction infrastructures – offers a stark reminder that we must pursue a new cosmology of renewal.