Abstract: This article contemplates slow cinema’s potential to counter the intensity of mainstream eco-disaster cinema. Although the genre’s aesthetics are not inherently critical of the temporality of late capitalism, documentaries such as La isla y los hombres (The island and the men, Iñaki Moulian, 2017) can make apprehensible how the epistemological boundary between human and nonhuman life is both partially responsible for ecological catastrophe and linked to settler colonialism. What I call moving stillness invites viewers to sense Indigenous survivance with its multiple temporalities and ways of living on a diminished planet.