Ron
Fricke è stato direttore della fotografia di Koyaanisqatsi, di Godfrey
Reggio, e si vede.
il film è musica e immagine, musica bellissima, come pure le immagini, un giro del mondo stando seduti in salotto.
Ron Fricke non è solo il regista, ma anche l'uomo con la macchina da presa.
qual è il messaggio, se c'è, ognuno se lo trovi da sé, ma intanto guardi questo film, toda joia toda beleza - Ismaele
qual è il messaggio, se c'è, ognuno se lo trovi da sé, ma intanto guardi questo film, toda joia toda beleza - Ismaele
…Prendendo spunto
dall’innovativo Koyaanisqatsi, Fricke elabora l’idea di un cinema che non
preveda né l’uso della parola, né tantomeno della recitazione. La sua
intenzione non è quella alla Lars Von Trier di creare film documentaristici di
ciò che accade nella vita quotidiana nei rapporti interpersonali fra i membri
di una comunità, bensì è quello di creare un poema visivo e sonoro che indaghi
in maniera evocativa il rapporto fra uomo e natura. Anzi, forse converrebbe
dire fra spirito-uomo e spirito-natura, in quanto buona parte delle immagini è
dedicata a riti religiosi di varie religioni fra loro molto distanti. Questo
non per sostenere la forza della religione, ma per documentare la sacralità del
gesto che l’uomo compie durate le funzioni religiose. E’ un tracciare l’ombra
dello spirito dell’uomo che sfrutta la materia per mettersi in contatto con lo
spirito della natura.
Tutto ciò
contrasta e stride con le frenetiche immagini metropolitane che caratterizzano
la sezione centrale dell’opera, esattamente come avvenne nella parte centrale
di Koyaanisqatsi. Ma sé là il regista finisce con il creare un ibrido di
estrema ambizione filosofica, qui è una ben più umile immersione nei diversi
ambienti che aiuta Fricke a liberarsi da una certa presunzione in favore di una
semplice proposta di stili di vita differenti dal nostro…
…Time-lapse photography can be dismissed as a gimmick, but for me
it's something more than that. It's a visual demonstration of how fleeting life
is. Of how the decisions that seem momentous on our time scale are flickering
instants in the life of the planet, too small to be observed except on the
minute scale of human life.
Somehow the technique makes the earth and its inhabitants seem
touchingly fragile.
Against this fragility, man has raised the bulwark of religion, and
Frick's cameras show us man in the act of worship, from the Pope in St. Paul's
to rabbis at the Wailing Wall, from monks in ancient temples to an
extraordinary tribe of chanters who lean this way and that in time to their
prayer, waving their arms like trees tossed in a storm, led by a man who seems
immensely pleased to be in the center of such ecstasy…
BARAKA is the Sufi word
for "blessing". In 1992, director Ron Fricke tried to do something
that few filmmakers have ever done: produce a movie that generally has no
distinct plot, only a series of beautifully filmed sequences set across the
globe. Shown in 70mm large-format venues, the film's set of beautiful images
combined with the hypnotic score by Michael Stearns could have been sleep-inducing
if done wrong, but Fricke has really succeeded due to not only his
cinematography, but editing.
Fricke is not only the director, but the cinematographer. Traveling to places that are still wild and not overshadowed by civilization, we are lead into the middle of tribes to watch their daily lives or into the middle of mountainous areas to watch the beauty of the scenery. Many will be frustrated by the film's lack of narration, as many are likely used to the popular IMAX-style of filmmaking that offers a near-consistent discussion of what we're seeing. Fricke's images flow smoothly from one location to another, gradually heading towards busier sequences like one where baby chicks are sorted as they roll down a conveyor belt, looking as if they're not entirely pleased with their current situation. These sequences are intercut with people trying to squeeze themselves into a subway train.
The obvious message behind "Baraka" is not only that we must take care of our planet and that we are all humans; rather than focusing on our differences, we should appreciate each other. The film's lack of narration actually helps; with the film's masterful editing, the images still manage to deliver the message in a delicate and effective way. It's a gorgeous and visually stunning film which will hopefully enjoy a re-release in large-format theaters sometime soon.
Fricke is not only the director, but the cinematographer. Traveling to places that are still wild and not overshadowed by civilization, we are lead into the middle of tribes to watch their daily lives or into the middle of mountainous areas to watch the beauty of the scenery. Many will be frustrated by the film's lack of narration, as many are likely used to the popular IMAX-style of filmmaking that offers a near-consistent discussion of what we're seeing. Fricke's images flow smoothly from one location to another, gradually heading towards busier sequences like one where baby chicks are sorted as they roll down a conveyor belt, looking as if they're not entirely pleased with their current situation. These sequences are intercut with people trying to squeeze themselves into a subway train.
The obvious message behind "Baraka" is not only that we must take care of our planet and that we are all humans; rather than focusing on our differences, we should appreciate each other. The film's lack of narration actually helps; with the film's masterful editing, the images still manage to deliver the message in a delicate and effective way. It's a gorgeous and visually stunning film which will hopefully enjoy a re-release in large-format theaters sometime soon.
…Ce n’est pas parce qu’il est
« non-verbal » qu’un film ne raconte rien. Ce n’est pas parce que les
péripéties classiques ne surviennent jamais qu’il ne se passe rien. Ron Fricke, chef opérateur
surdoué, créa avec Baraka une sorte de pont entre le cinéma
expérimental contemplatif et un cinéma plus conventionnel. Ce n’est pas pour
rien que George Lucas fit appel à ses services pour quelques
plans de Star Wars
épisode III. Baraka peut même être considéré comme un
grand film sur la foi en le cinéma. D’ailleurs, il s’ouvre sur toute une série
de plans de croyants. De tous horizons, leur ferveur religieuse dépasse le type
de divinité célébrée. Juifs, bouddhistes, animistes, tous, au fil des plans,
construisent une seule et même puissance introspective. Baraka parle avant tout de foi : celle
en l’Homme, en la nature, en la beauté du quotidien. Le silence est d’or, pas
la moindre parole ne sera échangée. Tout juste a-t-on droit au rituel Kecak où
le geste et la coordination des chants rappellent le ballet et l’opéra.
D’ailleurs, plus qu’un rituel, c’est une histoire de chasse au démon que
racontent ces habitants de Java. Si leurs chants nous demeurent
incompréhensibles, la puissance crescendo de la traque ne peut échapper à la
caméra de Fricke qui fait de cette tradition hindouiste
un spectacle merveilleux…
da
qui
Iniziato a vedere e già dico wow.... peccato la mancanza di tempo!!!!
RispondiEliminasi vedono tante cose inutili... :)
EliminaAhhh!! Nun ce provà! Io da un po' ho problemi di tempo e non solo con l'arte in movimento. Riesco più facilmente a leggere. Però ogni tanto vedo e cerco ormai di selezionare. L'ho visto un po' a tratti, mentre facevo altro e devo dire che già ne è valsa la pena. È veramente molto molto bello, a differenza di quella cosa analoga, ma manierista - a mio avviso - di Malik (così si chiama?)
Elimina