timespace coordinates: 1976 Formula One season
Rush is a 2013 biographical sports film centred on the Hunt–Lauda rivalry between two Formula One drivers, the British James Hunt and the Austrian Niki Lauda during the 1976 Formula 1 motor-racing season. It was written by Peter Morgan, directed by Ron Howard and stars Chris Hemsworth as Hunt and Daniel Brühl as Lauda. (wiki)
Some things in the film are exaggerated (like the Hunt–Lauda rivalry; in reality they had shared a flat early in their careers and were good friends), others downplayed (like Lauda’s wife’s shock at his disfigurement), and others invented (like Hunt beating up a reporter or the Nürburgring nickname being “the graveyard”; in fact Jackie Stewart had nicknamed it “the Green Hell”). (read more: historical accuracy)
Samsara is a 2011 American non-narrative documentary film of international imagery directed by Ron Fricke and produced by Mark Magidson. Samsara was filmed over a period of five years in 25 different countries around the world.
The official website describes the film, “Expanding on the themes they developed in Baraka (1992) and Chronos (1985), Samsara explores the wonders of our world from the mundane to the miraculous, looking into the unfathomable reaches of humanity’s spirituality and the human experience. Neither a traditional documentary nor a travelogue, Samsara takes the form of a nonverbal, guided meditation.” (wiki)
Baraka is a 1992 non-narrative documentary film directed by Ron Fricke. The film is often compared to Koyaanisqatsi, the first of the Qatsi films by Godfrey Reggio for which Fricke served as the cinematographer. It is also the most recent film to be photographed in the 70mm Todd-AO format, and the first film ever to be restored and scanned at 8K resolution. (wiki)
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 Baraka he 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 Maasai 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 of the camera. In one evening sequence a desert sky turns black, and the stars roll by, as the camera moves slowly forward under the trees. The feeling is like that of viewing the universe through a powerful telescope: that we are indeed on a tiny orb hurtling through a star-filled void. The film is complemented by the hybrid world-music of Michael Stearns. ~ Anthony Reed, Rovi (rottentomatoes)
Helloween “-Walls Of Jericho” full album / judas
“Achilles, Agony and Ecstasy in Eight Parts” is the longest (28 minutes and 38 seconds) and most complex Manowar song, and probably an anticipation of a concept album that was never accomplished. Because of its Homeric content, “Achilles, Agony and Ecstasy in Eight Parts” has recently attracted the attention of a group of scholars at Bologna University in Italy. Mrs. Eleonora Cavallini, Professor in Classics, has written about this song:
“Joey DeMaio’s lyrics imply a careful and scrupulous reading of the Iliad. The songwriter has focused his attention essentially on the crucial fight between Hector and Achilles, has paraphrased some passages of the poem adapting them to the melodic structure with a certain fluency and partly reinterpreting them, but never altering or upsetting Homer’s storyline. The purpose of the lyrics (and of the music as well) is to evoke some characteristic Homeric sceneries: the raging storm of the battle, the barbaric, ferocious exultance of the winner, the grief and anguish of the warrior who feels death impending over him. The whole action hinges upon Hector and Achilles, who are represented as specular characters, divided by an irreducible hatred and yet destined to share a similar destiny. Both are caught in the moment of the greatest exaltation, as they savagely rejoice for the blood of their killed enemies, but also in the one of the extreme pain, when the daemon of war finally pounces on them. Furthermore, differently than in the irreverent and iconoclastic movie Troy, in “Achilles, Agony and Ecstasy in Eight Parts”, the divine is a constant and ineluctable presence, determining human destinies with inscrutable and steely will, and, despite the generic reference to ‘the gods’, the real master of human lives is Zeus, the only God to whom both Hector and Achilles address their prayers
timespace coordinates: 1970 – 1985 Edinburgh, London, Munich, New York City, Rio de Janeiro, Wales /concert hallsBohemian Rhapsody is a 2018 biographical film about the British rock band Queen. It follows singer Freddie Mercury‘s life from his joining the band in 1970 to their Live Aid performance at Wembley Stadium in 1985. Directed by Bryan Singer, it is written by Anthony McCarten, and produced by Graham King and Queen manager Jim Beach. It stars Rami Malek as Mercury, with Lucy Boynton, Gwilym Lee, Ben Hardy, Joe Mazzello, Aidan Gillen, Tom Hollander, Allen Leech, and Mike Myers in supporting roles. Queen members Brian May and Roger Taylor served as creative and musical consultants.
Home is a 2009 French documentary film by Yann Arthus-Bertrand. The film is almost entirely composed of aerial shots of various places on Earth. It shows the diversity of life on Earth and how humanity is threatening the ecological balance of the planet. The English version was read by Glenn Close.The film was financed by Kering, a French multinational holding company specializing in retail shops and luxury brands, as part of their public relations strategy. (wiki)Yann Arthus-Bertrand said in a TED talk that the movie has no copyright.