Hira Nabi is the writer/director and main cinematographer for the film ‘All That Perishes on the Edge of Land’. Her work looks at repositories of memory in urban landscapes, contested or imagined histories, labor, and a keen observation of the built and natural environment. Where do ships go to die? ‘All That Perishes on the Edge of Land’ is situated at the ship-breaking yard at Gadani, in Baluchistan, where condemned vessels are beached and taken apart by blowtorches and exacting labor. High quality steel and wood are extracted from the corpse of the ship, and the remainder is sold for scrap. What do the defeated remains of the ship claim as a final cost? Are the ships being destroyed, or creating destruction in their wake? And if so, who or what is paying the price for that act of destruction? This visual work considers the industry built around the collapsed vessel as the site of contextual inquiries: into the destruction of marine ecology, exploitative labor practices affecting a migrant labor force, a network of linked industries aggregating wealth, and an imbalance of power tilting in favor of the industrialized North versus the Global South.