"JOURNEY OF HANUMAN" Preserves moments still existing in India that have not been disturbed by globalization and are connected with the antique spiritual knowledge of India. I wanted to ... See full summary »
Filmed over nearly five years in twenty-five countries on five continents, and shot on seventy-millimetre film, Samsara transports us to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders.
Balinese Tari Legong Dancers,
Ni Made Megahadi Pratiwi,
Puti Sri Candra Dewi
RASA YATRA evokes the beauty of pilgrimage and explores the essence of devotion in Hindu culture through non-linear narrative. Rasa is Sanskrit for "juice" or "taste". Yatra means "journey"... See full summary »
The film provides a metaphorical visual meaning to the verses of an ancient spiritual composition that has been sung and chanted across the globe. Our understanding of the divine has ... See full summary »
After an excerpt from 'Baraka (1992)', featuring the music of Dead Can Dance, we see them in concert in Santa Monica CA, alternated with interview sequences with the lead members (Lisa ... See full summary »
Dead Can Dance,
In this cinematic concert, mesmerizing images are plucked from everyday reality, then visually altered with state-of-the-art digital techniques. The result is a chronicle of the shift from a world organized by the principles of nature to one dominated by technology, the synthetic and the virtual. Extremes of intimacy and spectacle, tragedy and hope fuse in a tidal wave of visuals and music, giving rise to a unique, artistic experience that reflects the vision of a brave new globalized world. Written by
Sujit R. Varma
After reading different comments about this movie, I've decided to see it, and I'm really surprised because what I have found has little to do with what I thought it was.
Naqoyqatsi is about the loss of our natural perception of reality and its substitute: the image itself as a product of technology, the image as a weapon in a globalized war. And here comes the apparent incoherence, because the film is a parade of these images, a product of the same technological violence it is reflecting and criticizing. That's not hypocrisy; the contradiction is part of the film itself.
Although I do not completely support Reggio's point of view, I admire the way he expresses it through his films without impositions of any kind, so that the viewer can find his own perspective. While watching Naqoyqatsi, I was asking for the "original" pictures that were below those distortions and filters, but soon I realized the real world wasn't there. It was like "OK, so that's all... Well, let's see it".
A few words about the inevitable comparison with it's predecessors: if you are looking for something like Koyaanisqatsi, go see Koyaanisqatsi again. Naqoyqatsi is a different film. It does well as the third part of the Qatsi Trilogy, but like the other two, has its own "personality". And I think it's a great film. Maybe not a masterpiece like Koyaanisqatsi, but a great film.
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