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| G (40%) |
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| Koyaanisqatsi - Life Out of Balance (85%) |
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| Powaqqatsi (100%) |
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| Grease (14%) |
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| Fuck (F*ck) (50%) |
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Plot:
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 org...( read more
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the least good of the qatsi trilogy, but still a great reflection of the world of today, and a prediction to the future. like it is shown in a very visualy brilliant way, with sometimes confusing visual effects though, our society is more and more marked by new forms of high technology and progress, and with that, worse types of violence and war.
The final chapter in the trilogy isn't as good as the previous two. Still, it has some surprisingly remarkable imagery. Considering, the entire film is computer manipulated, it's amazing that there is still a genuine heartfelt emotion evident. Plus, the score by Glass (with the help of Yo-Yo Ma) is to die for.
Although I love Koyaanisqatsi/Powaqqatsi, this one was quite a disappointment. The visual style is special indeed, but it was way to artsy for me and felt more like something for a video art installation rather than a movie to watch.
The title is a Hopi word meaning "life as war". This documentary takes images of modern life and the real world, and digitaly augments and alters them into a fantasia of living images, showing man developing into the technology based society of today.
There are no words, and no real story, just a kaledscopic series of images to the music of Phlip Glass and Yo-Yo Ma. Basically it's a long music video. Earlier films by director Reggio are similar in their approach and subjects, dealing with nature and then industrial societies, and now technological culture and the future.
A beautiful, inventive, abstract documentary
Godfrey Reggio's disappointing third instalment to his "Life out of Balance" trilogy. A few new photographic and editing techniques are the only tricks up the filmmaker's sleeve this time around, and they aren't nearly enough to lift this film to the same luminous stature of the landmark "Koyaanisqatsi"(1983).
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