The Anthropocene is the name of a theoretical geological epoch defined by significant human impact on the Earth. Some scholars want to place the beginning of the Anthropocene on June 16, 1945 when the first nuclear bomb was tested in New Mexico, while others have suggested that the industrial revolution, or the onset of colonization, should be where the epoch begins. No matter where we pinpoint its origin, we know that any beginning implies an end. The Anthropocene is the last epoch that will see humans through to the end of our impactful existence on Earth. But no one knows how humans will meet our collective demise. We make predictions with science and observations, visions and prophecy, and we apply what we learn from histories passed down from time immemorial. We have generated countless speculative endings for humanity that assume the end is yet to come, but for many Indigenous people, our past and continuing genocides are ever present. We are trying to end ongoing efforts to disappear us, and we’ve been forced to contemplate our annihilation since European arrival. Adjacent to ever popular speculations of humanity’s end are art movements like Indigenous Futurism and Afro-Futurism, in which more and more artists refer to healing as a motivation for the creation of art. It isn’t coincidental that when the end is so robustly imagined some of us portray our survival in rich, glittery ways. Perhaps we are hoping to undermine or curtail the Anthropocene. Anthropocene Refusal is a short film about healing in Dakota land. Through visual analogies and sympathetic imagery, we are weaving a sigil that celebrates the Earth as our kin.