The term “Expanded Cinema”, coined by Gene Youngblood in his 1970 book, associates the multiplication of media, modes of distribution and exhibition of moving images with their capacity to expand the field of consciousness. Youngblood posits two decisive hypotheses in his text: that of “the artist as ecologist” and “art as environment”. In this way, the American critic helps us to formulate an ecocritical issue in the context of a history of contemporary experimental and expanded cinema practices: doesn't this expansion of cinematic powers, compared to a gradual extinction of nature, lead us to imagine new filmic ecologies? The experimental cinema ecologies we propose would therefore be forms of practice and engagement that awaken a heightened sensitivity to the living through cooperative links, entrusting existing others with the roles of subjects and agents of filmic processes and, finally, gestures that reshape the economy of film-making.