Images of nature are not neutral images of reality, landscapes are subjective, and have their own physiognomy, moreover, according to Béla Balázs’s phenomenology of cinema “the camera paints images of mood” (2010, 52). This chapter proposes an application of this approach to understand the ways in which this ecocentric documentary offers sensual experiences, and affects viewers through aesthetic choices framing characters in the natural settings they inhabit. While, ecocinema usually highlights a type of cinema that is able to “retrain perception” in the development of a post-human ecological consciousness, more focus will be given to the ways in which human figures are framed by nature through cinema’s landscaping gaze. Instead of paying attention to cinema’s ecologist-activist impulse, the Romanian documentary, This Is It (Asta e, 2001) by Thomas Ciulei, capitalizes on pictorial framing, stillness and the painterly, atmospheric impressions of landscape. The film restrains its narrative drive to the minimum in order to engage the viewer in a perspective that balances between human and non-human worlds, social/ethnographic filmmaking and environmental advocacy. Instead of a natural paradise, we see an impure landscape, where among other beings, people also live, all equally traumatized.