When home-front battles over GMO labeling, beekeeping, and the Farm Bill get heated, we can sometimes lose sight of the fact that Big Ag’s influence extends far beyond our own borders. Micha Peled’s documentary Bitter Seeds is a stark reminder of that fact. The final film in Peled’s “globalization trilogy,” Bitter Seeds exposes the havoc Monsanto has wreaked on rural farming communities in India, and serves as a fierce rebuttal to the claim that genetically modified seeds can save the developing world.
The film follows a plucky 18-year-old girl named Manjusha, whose father was one of the quarter-million farmers who have committed suicide in India in the last 16 years. As Grist and others have reported, the motivations for these suicides follow a familiar pattern: Farmers become trapped in a cycle of debt trying to make a living growing Monsanto’s genetically engineered Bt cotton. They always live close to the edge, but one season’s ruined crop can dash hopes of ever paying back their loans, much less enabling their families to get ahead. Manjusha’s father, like many other suicide victims, killed himself by drinking the pesticide he spreads on his crops.
Why is Monsanto seen as responsible for these farmers’ desperation? The company began selling Bt cotton in India in 2004, after a U.S. challenge at the WTO forced India to adopt seed patenting, effectively allowing Monsanto to monopolize the market. Bt cotton seeds were — and still are — advertised heavily to illiterate Indian farmers, who have bought the company’s promises of high yields and the material wealth they bring. What the farmers didn’t know until it was too late is those seeds require an expensive regimen of pesticides, and must be fertilized and watered according to precise timetables. And since these farmers lack irrigation systems, and must instead depend on not-always-predictable rainfall, it’s incredibly difficult to control the success or failure of any year’s crops. As farmers bought the Bt cotton in droves, the conventional seed they’d been using — which needed only cow dung as fertilizer — disappeared in as little as one season. Now, in communities like Manjusha’s, it’s virtually impossible to buy anything but Monsanto’s seed.
To pay for seeds, pesticides, and fertilizer, farmers must take out loans, but most banks refuse to deal with them, so instead they turn to moneylenders, who charge exorbitant interest rates. Many farmers have nothing to offer as collateral besides their land. If a crop fails and they can’t pay back the loans, they lose everything.
The film offers a glimmer of hope in Manjusha, an aspiring journalist in a world where farmers’ daughters aren’t exactly encouraged to pursue independent careers. Scenes of her first earnest attempts at reporting are intimate and touching (“I had other questions to ask, but I forgot”), and her commitment to telling the story of her family’s and her community’s struggle always shines through her nervousness. This appealing heroine makes a story of global manipulation more personal, and thus more devastating.
Piece by piece, Bitter Seeds lays out the bleak situation in India, using interviews with all players, from condescending seed sales reps and callous Monsanto execs, to activist Vandana Shiva, to farmers, their families, and village old-timers who remember when life as an Indian cotton farmer was not so bitter.
Proponents hail GMO crops as a triumph of science over nature that could provide a solution to world hunger. But this film reveals a society of farmers whose way of life, and very lives, are threatened. If GMOs have any benefits, it would be hard to convince me that they outweigh the human costs portrayed in Bitter Seeds.
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