Battleship is a 2012 American military science fiction action film that is loosely based on the board game of the same name. The film was directed by Peter Berg and stars Taylor Kitsch, Brooklyn Decker, Rihanna, Tadanobu Asano, Alexander Skarsgård and Liam Neeson. In the film, the crews of a small group of warships are forced to do battle against a naval fleet of extraterrestrial origin in order to thwart their destructive goals. (wiki)
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)
THE CITY DARK is a feature documentary about the loss of night. After moving to NYC from rural Maine, filmmaker Ian Cheney asks a simple question – do we need the stars? – taking him from Brooklyn to Mauna Kea, Paris, and beyond. Exploring the threat of killer asteroids in Hawaii, tracking hatching turtles along the Florida coast, and rescuing injured birds on Chicago streets, Cheney unravels the myriad implications of a globe glittering with lights – including increased breast cancer rates from exposure to light at night, and a generation of kids without a glimpse of the universe above. Featuring stunning astrophotography and a cast of eclectic scientists, THE CITY DARK is the definitive story of light pollution and the disappearing stars. (imdb)
The City Dark is a documentary film by filmmaker Ian Cheney about light pollution. It won the Best Score/Music Award at the 2011 SXSW Film Festival and was nominated for at the 34th News & Documentary Emmy Awards. (wiki)
“It looks like the stars have been scattered across the ground. Have you ever … Have you ever seen anything so full of splendor?” Dolores Abernathy
Chasing Coral is a 2017 documentary film about a team of divers, scientists and photographers around the world who document the disappearance of coral reefs. “This is the most beautiful transformation in nature, the incredibly beautiful phase of death.”
spacetime coordinates: 1958 > 1970 North Beach, San Francisco // Honolulu, HawaiiBig Eyes is a 2014 American biographical film directed by Tim Burton, written by Scott Alexander and Larry Karaszewski and starring Amy Adams and Christoph Waltz. The film is about the life of American artist Margaret Keane—famous for drawing portraits and paintings with big eyes. It follows the story of Margaret and her husband, Walter Keane, who took credit for Margaret’s phenomenally successful and popular paintings in the 1950s and 1960s. It follows the lawsuit (and trial) between Margaret and Walter, after Margaret reveals she is the real artist behind the big eyes paintings.
“I think what Keane has done is just terrific. It has to be good. If it were bad, so many people wouldn’t like it.” Andy Warhol
spacetime coordinates: Pacific Islands, 1849 // Cambridge/Edinburgh, 1936 // San Francisco, 1973 // London, 2012 // Neo Seoul, 2144 // Big Isle (Hawaii), 106 winters after the Fall (2321)
Cloud Atlas is a 2012 German-American science fiction film written and directed by The Wachowskis and Tom Tykwer. Adapted from the 2004 novel of the same name by David Mitchell, the film has multiple plots set across six different eras, which Mitchell described as “a sort of pointillist mosaic.” The official synopsis describes it as “an exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution.” Tom Hanks, Halle Berry, and Jim Broadbent lead an ensemble cast.
Lana Wachowski stated “people will try to will Cloud Atlas to be rejected. They will call it messy, or complicated, or undecided whether it’s trying to say something New Agey-profound or not. And we’re wrestling with the same things that Dickens and Hugo and David Mitchell and Herman Melville were wrestling with. We’re wrestling with those same ideas, and we’re just trying to do it in a more exciting context than conventionally you are allowed to. … We don’t want to say, ‘We are making this to mean this.’ What we find is that the most interesting art is open to a spectrum of interpretation.”