Over 250,000 tons of electronic waste are shipped to Ghana each year to be recycled under almost apocalyptic conditions. Here, thousands of children and adults work on disassembling flat screens, telephones and laptops in the open air, in an artificial and endless landscape of trash, while others extract copper by melting old cables over an open fire. 'Welcome to Sodom' (which is the title{Ziyuantun.Com} of a rap song in the film) places us right in the middle of the location's dark heart. But it is the voices of the workers that lead us around Sodom and choose the words - and the unexpected performative gestures - to describe a conditions that if infernal almost beyond description. The Austrian directing duo Florian Weigensamer and Christian Krönes have created a dark and sensuous film', but one where the almost timeless vision of the apocalypse is followed by an extremely urgent call for action to the times we live in right now. An age where digital development promises us an increasingly comfortable and carefree life, while the internet's illusion of being immaterial creates a blind angle for all of the West's e-waste to be dumped. 译文(2): 每年有超过250,000吨的电子垃圾被运到加纳，在几乎末日般的条件下被回收利{资源屯-ziyuantun.com}。在这里，成千上万的儿童和成年人在露天拆解平板电视、电话和笔记本电脑，在一个人造的、无穷无尽的垃圾景观中，而其他人则通过在明火上熔化旧电缆来提取铜。“欢迎来到所多玛”(这是电影中一首说唱歌曲的名字)将我们置于这个地方黑暗的中心。但是是工人们的声音带领我们在所多玛周围走动，选择语言——以及意想不到的表演姿态——来描述这种几乎无法形容的恶劣条件。奥地利导演弗洛里安 · 魏根萨默和克里斯蒂安 · 克里斯蒂安 · 克里恩斯创造了一部黑暗而感性的电影，但是在这部电影中，几乎永恒的末日景象之后紧接着就是一个极其紧迫的呼吁，要求我们立即采取行动，回到我们现在生活的时代。在这个时代，数字化发展为我们带来了越来越舒适和无忧无虑的生活，而互联网虚幻的非物质性为西方所有的电子垃圾的倾倒创造了一个盲角。
