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If man sends another Voyager to the distant stars and it can carry only one film on board, that film might be "Baraka." It uses no language, so needs no translation. The film was photographed over 14 months by director Ron Fricke, who invented a time-lapse camera system to use for it. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!
In 1992, it was the first film since 1970 to be photographed in Todd-AO, a 65mm system, and in 2008, it seems to have been the last. You will receive a weekly newsletter full of movie-related tidbits, articles, trailers, even the occasional streamable movie. Points of interest include Iguacu Falls in Argentina, Ayers Rock in Australia, the temples of Angkor Wat in Cambodia, and the Grand Canyon. Also tours Auschwitz and the streets of Calcutta, in an effort to warn the viewer of the planet's fragility. It was made from the Todd-AO print, which was digitally restored to a perfection arguably superior to the original film. It is the first 8K resolution video ever made of a 65mm film, on the world's only scanner capable of it.

A friend came into the room while I was watching the film, saw a closeup of the head of a Gila monster and said, "That's beautiful." I asked if she liked lizards. We are the beholder.A large gathering of men, shaped in a rough circle, join in synchronous dancing, bowing, standing, kneeling, sitting, standing, their arms in the air, their fingers fluttering like the wings of birds, their voices a rhythmic chatter. Their movements are more complex and intricately timed than the drummers at the opening ceremonies of the Beijing Olympics. More inspiring, also, because they have chosen to do this as worship and have not been drilled. They have perfected their ritual, and in their faces we do not see strain or determination, despite the physical ordeal, but contentment and joy. Their movements have the energy of deep enjoyment.There's the indescribable beauty of aborigines, their bodies bearing necklaces, bracelets and body ornaments made from countless tiny beads, their arms and faces painted in intricate patterns of innumerable dots. We see the bright scarlet paint on the brow of a young Amazonian girl, peering solemnly from bright green leaves. The undeniable beauty of the access roads circling down to the pit bottoms, one line atop another.
A virgin forest seen from high above, looking down on wave after wave of birds, hundreds of thousands of them from horizon to horizon.Scavengers, in an enormous garbage dump in India, claw at the refuse to make a living, competing with birds and dogs. They are all garbed in the cheapest fabrics of India, a land where a woman can crawl from a cardboard box on the sidewalk and stand up looking elegantly dressed.Eggs, thousands of them, float by on a conveyor belt. Recently hatched chicks, dressed in yellow down, tumble from a conveyor belt down a chute onto another belt. They are sorted, tossed into funnels, spin down in a spiral, emerge one at a time to be marked with dye and have the tips of their beaks burned off.

Girls and young women, thousands of them, as far as the eye can see, make cigarettes by hand in a South American sweatshop. Workers assemble computer parts in a Japanese factory, thousands of them, each one repeating a small action all day along, one who is working with a bandaged hand, three of its fingers too short.In the factories, the high-angle camera shows rows of these workers reaching to the vanishing point. The images result from painstaking care and perfectionist detail in the filming and restoration, and thoughtful camera placement. Two movements at once: commuters dashing across the floor in speeded-up time, while the camera pans across them in slow motion.
It is easy enough to achieve fast motion, but how difficult with a camera that is panning with exquisite slowness. There's an overhead shot of an intersection in Tokyo, with alternating swarms of thousands of cars and thousands of pedestrians. Escalators on the subway system, a speeded-up shot, pour out travelers as the conveyor belt poured chicks.An orangutan stands shoulder-deep in a warm pool, steam rising around it.
Sebold: "Men and animals regard each other across a gulf of mutual incomprehension." What are the people thinking? Why did it not frighten a herd of springboks, standing at rest in perfect focus?Will the aliens viewing this film comprehend some of the scenes?

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