A history of decolonization, told through the colonized point of view, in 3 chapters: ‘Learning’, ‘Liberation’ and ‘The world is ours’
timespace coordinates: 1994 > early 2000’s > modern-day Mumbai, Mombasa, Kenya, Dubai, CroatiaA policeman, a criminal overlord, a Bollywood film star, politicians, cultists, spies, and terrorists — the lives of the privileged, the famous, the wretched, and the bloodthirsty interweave with cataclysmic consequences amid the chaos of modern-day Mumbai. The series is based on the critically-acclaimed best-selling novel Sacred Games by author Vikram Chandra. (rottentomatoes)
The title sequence, logo, and title designs were designed by graphic designer Aniruddh Mehta and Mumbai-based motion lab Plexus, who drew inspiration from the Hindu mythology for the designs. Mehta said that each emblem was a contemporary take on “stories from ancient Hindu scriptures, mandala‘s, mixing modern design elements with characters from the Indus Valley Civilization” that were derived from the episode titles. (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)
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.
Where the foothills of Mount Kenya merge into the desert, the people of Samburu have maintained a strict patriarchy for over 500 years in northern Kenya. That is, until 25 years ago, when Rebecca Lolosoli founded Umoja village as a safe haven for the region’s women. Umoja, which means “unity” in Swahili, is quite literally a no man’s land, and the matriarchal refuge is now home to the Samburu women who no longer want to suffer abuses, like genital mutilation and forced marriages, at the hands of men. Throughout the years, it has also empowered other women in the districts surrounding Samburu to start their own men-excluding villages. Broadly visited Umoja and the villages it inspired to meet with the women who were fed up with living in a violent patriarchy.
Human Flow is a 2017 German documentary film co-produced and directed by Ai Weiwei about the current global refugee crisis. Ai Weiwei also comes from a past of displacement; his entire family was exiled to an isolate village of Xinjiang in the Gobi desert due to his parents being writers in the midst of the Cultural Revolution in China.
Like Human Flow, Ai has created similar art installations such as the “Law of the Journey” that features a 200 foot inflatable boat carrying 258 refugee figures, “Laundromat” where he filled a New York City gallery with discarded clothing and personal notes left by refugees in a camp in Idomeni Greece, and the recreation of the captured image of Aylan Kurdi, the young Syrian who drowned off the coast of Turkey.