Baraka

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Storyline

Named after a Sufi word that translates roughly as “breath of life” or “blessing,” Baraka is Ron Fricke’s impressive follow-up to Godfrey Reggio’s non-verbal documentary film Koyaanisqatsi. Fricke was cinematographer and collaborator on Reggio’s film, and for Barakahe struck out on his own to polish and expand the photographic techniques used on Koyaanisqatsi. The result is a tour-de-force in 70mm: a cinematic “guided meditation” (Fricke’s own description) shot in 24 countries on six continents over a 14-month period that unites religious ritual, the phenomena of nature, and man’s own destructive powers into a web of moving images. Fricke’s camera ranges, in meditative slow motion or bewildering time-lapse, over the Church of the Holy Sepulcher in Jerusalem, the Ryoan-Ji temple in Kyoto, Lake Natron in Tanzania, burning oil fields in Kuwait, the smoldering precipice of an active volcano, a busy subway terminal, tribal celebrations of the Masai in Kenya, chanting monks in the Dip Tse Chok Ling monastery…and on and on, through locales across the globe. To execute the film’s time-lapse sequences, Fricke had a special camera built that combined time-lapse photography with perfectly controlled movements.

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2 Comments / User Reviews

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  • Tom Doherty

    Hi,
    I have been looking forward to watching this video all day, now I come to settle down and put my feet up, I get a message saying that the clip has been blocked in my region, I don't understand could you please let me know if there is anything I can do to unblock it.
    Kind regards,
    Tom

  • Assaf Chalif

    Absolute one of the most important films ever made!
    This film is our mirror. Although it is not new…
    If you think of it, it can be a life changing for the planet as well for the individual. The critics about the human behavior and the influence on the environment are not new. The creator of this film understood something some years ago...

    As Michal Jackson sing: change the image in the mirror.
    This film is the mirror.

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