Baraka

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Q8888 9 @Q8889144 Feb 8 This one is very very Fascinating... Integration and Individuation! "The privilege of a lifetime is to become who you truly are"! See more Andrew A @rt_andrew Oct 20 A very good looking audio/visual collage. Always hard to rate these kind of things. See more Laura G @RT28107192 10/16/2024 Just a gorgeous film humanity nature everything all wrapped in to a beautifully shot film with no dialogue should’ve won many awards See more Pantera O @RT37068021 07/31/2024 "Baraka" Las civilización humana evoluciona interfiriendo con lo que lo rodea. Experimental. Visual. Ambiental. Increíbles imagenes de las diferentes culturas, su legado y evolución. La actividad en camara lenta, sin diálogos, solo música con gaitas, tambores, flautas, maracas y campanas. La naturaleza y la locura humana. Cine experimental. Te hace ver el mundo desde lejos, reflejando nuestra propia humanidad. Mientras veia esta pelicula, me dije: "Seguro es gringa" solo los gringos le ponen sonidos tibetanos a cualquier cultura extranjera del medio oriente. ¿Bendición? Estamos locos. Técnica: 7.7 Expresión: 6.4 Efecto: 8.0 Experiencia: 5.2 Calificación: 6.8/10 See more Burke M @RT38373876 08/20/2023 One of the most visually impressive and artistic pieces of film I have ever experienced. See more Matthew B @RT07450941 08/16/2023 Ron Fricke's five-person crew filmed in 24 countries in six different continents over a period of 14 months. The title of the film is a Sufi word meaning blessing, essence or breath. This choice of title indicates Fricke's preference for alternative cultures. As in Chronos, Fricke offers no narrative or voiceover, leaving the viewer to draw their own inferences about what they are watching. He provides no captions telling us the location of the places seen. Some are easily recognisable; others less so. Wikipedia helps identify some: "Locations featured include the Church of the Holy Sepulchre in Jerusalem, the Ryōan temple in Kyoto, Lake Natron in Tanzania, burning oil fields in Kuwait, the smouldering precipice of an active volcano, a busy subway terminal, the aircraft boneyard of Davis–Monthan Air Force Base, tribal celebrations of the Maasai in Kenya, and chanting monks in the Dip Tse Chok Ling monastery". The soundtrack again uses ambient sound effects with a world music theme, including the dreaded panpipes. Images are again slowed down or speeded up, but this time Fricke is less concerned with drawing our attention to technique, and Baraka is a more settled work. Long tracking shots prevail. Images are viewed from bird's eye level, or on the same level. Sometimes the camera points up at the sky so we can watch the stars and passing clouds. Reflecting a change in his concerns, Fricke shows us more images of people. They are not just figures who flit across the screen in a split second. The camera lingers on their unsmiling faces and colourful garments. The single most striking moment in the documentary is the Balinese Ramayana Monkey Chant, a Hindu dance and drama. This is a carefully coordinated ritual in which the participants make monkey noises, and perform gestures with their hands, often while half the players are lying on their knees with their backs prone. The obvious enthusiasm and joy of the men performing the Chant is a joy to watch. Baraka opens with serene and empty landscapes. Gradually animal life appears. An old-faced monkey bathes in steaming water. Soon Fricke passes on to the many structures created by people over thousands of years. He is particularly preoccupied with the creations and activities that reflect our spiritual side – whirling dervishes, the Weeping Wall, ceremonies on the Ganges, Muslims worshipping at the Kaaba. Sometimes the documentary juxtaposes contrasting images that seem similar. Tattoos on a yakuza member followed by an indigenous native covered in tribal paint. It is a reminder that cultures are different, and yet share characteristics. After a while Fricke passes from these uplifting images to scenes of westernised consumerist culture. After seeing what is noblest in mankind, we see the dark side of our impact on the planet. A tree is chopped down. A quarry is blown up. Shanty towns have so many houses in them that they almost appear to be piled on top of one another. Life has become processed, mechanised and commodified. Workers gather in large sweat shop factories to make cigarettes and assemble computers. Chickens are moved along a conveyor belt and dropped down chutes on top of one another before having their beaks burned in an automated process that allows no compassion. Two donkeys drag a heavy cart, their legs buckling under the weight. Other members of society miss out on the benefits. Locals sift through a rubbish tip. Homeless people lie on the streets. Women make a living from prostitution. We stockpile ammunition and burn oil, making the planet a poorer place. Photographs from Auschwitz remind us of our darkest moment in history. After these images, Fricke returns to showing fine buildings and religious ceremonies. This may seem like a disappointing reversion to earlier material, but it is a deliberate choice. By topping and tailing the film with these images, he shows us where his heart lies. Fricke is not indifferent to the failures of the human race, but his film is ultimately uplifting. It is a reminder of the sheer beauty of some of our creations, of the best that we can be. I wrote a longer appreciation of Ron Fricke's films on my blog page if you would like to read more: https://themoviescreenscene.wordpress.com/2021/08/29/three-films-by-ron-fricke-chronos-baraka-and-samsara/ See more Read all reviews

Baraka

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