Ohjaus:
Viktor KossakovskyKäsikirjoitus:
Viktor KossakovskySävellys:
Eicca ToppinenSuoratoistopalvelut (2)
Juonikuvaukset(1)
Aquarela takes audiences on a deeply cinematic journey through the transformative beauty and raw power of water. Filmed at 96 frames-persecond, the film is a visceral wake-up call that humans are no match for the sheer force and capricious will of Earth’s most precious element. From the precarious frozen waters of Russia’s Lake Baikal to Miami in the throes of Hurricane Irma to Venezuela’s mighty Angel Falls, water is Aquarela’s main character, with director Victor Kossakovsky capturing her many personalities in startling visual detail. (Venice International Film Festival)
(lisää)Arvostelut (2)
Aquarela is an uninteresting visual documentary about water and its forms, moods and cooperation with temperatures and wind. And unknown people who are “at war” with it in various inhospitable conditions. The purpose of the film is not to show captivating and beautiful shots, as its entire runtime is not equal to the single best shot single best shot from Our Planet, for example. Nor does it explain or comment on anything or offer any prognosis. And the heavy-metal interludes, synched with the wildness of the stormy ocean, are a tasteless poke in the eye. A weak three stars.
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Excuse me, entrusting the music to one-trick pony Toppinen was whose idea now? Worse, it only appears about three times in the film, so it successfully disrupted my meditation to the roar of water walls, the crack of bushes, and the crashing of waves, which is unforgivable. But the Russian opening, with the cars being pulled from the bottom of Lake Baikal by short-tempered drivers, is again and again Life Imitates Art Scenic Depictions of Slavic Life. You can't make up a frozen wet Mongol with a Titanic T-shirt who just drowned his car in a lake.
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