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The Qatsi series is made up of several compelling contradictions. On the one hand, the first film, Koyaanisqatsi (1983), was a unique-for-its-time, one-of-a-kind event; but on the other hand, that film used many of the same cinematic tactics and strategies common to “pure cinema” (or “absolute film”) projects that characterized experimental filmmaking in the 1920s, like Dziga Vertov’s Man with the Movie Camera, Fernand Leger’s Ballet Mechanique, and the geometric filmmaking of Viking Eggeling. On the one hand, the Qatsi series is often celebrated as a series, or as an accomplishment characterized by a long-term vision realized across several films; but on the other hand, celebrations of the weight and accomplishment of this series are often relegated to the first film. Koyaanisqatsi’s sequels, Powaqqatsi (1988) and Naqoyqatsi (2002), are only mentioned a fraction as often as the landmark first film. On the one hand, this trilogy is one of the most radical critical critiques of capitalism and »

- Landon Palmer

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