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Baraka (film)

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Baraka (1992) is an experimental documentary film directed by Ron Fricke, cinematographer for Koyaanisqatsi and the other Qatsi films by Godfrey Reggio. Often compared to the experimental documentary Koyaanisqatsi, Baraka's subject matter is in fact similar--including footage of various landscapes, churches, ruins, religious ceremonies, and cities thrumming with life, during which the frames are sped up to capture the great pulse of humanity as it flocks and swarms in daily activity. The film also features a number of long tracking shots through various settings, including ones through former concentration camps Auschwitz and Tuol Sleng turned into museums honoring their victims: over photos of the people involved, past skulls stacked in a room, to a spread of bones. In addition to making comparisons between natural and technological phenomena, such as in Koyaanisqatsi, Baraka searches for a universal cultural perspective: for instance, following a shot of an elaborate tattoo with one of tribal paint.

The movie was filmed in color 70mm film in 24 countries over 6 continents. It contains no dialogue or cohesive plot unless music, images, and ambient talking, chanting or singing can be considered a latent narrator for one universal spiritual meaning.

The title Baraka is a Persian word literally meaning blessing. As a Sufi term it refers to a sense of divine presence, but is more often associated with a place or person.

The score provided by Brendan Perry and Lisa Gerrard (from Dead Can Dance) and Michael Stearns is noticeably different from the minimalist one provided by Philip Glass for Koyaanisqatsi. Noteable music contribution by Brother (band).

The film was produced by Mark Magidson, who also produced and directed the film, Toward the Within, a live concert performance by Dead Can Dance.

A sequel to Baraka, Samsara, is currently in production and expected to be released in 2006.

  • Spirit of Baraka. A reference site for films such as Baraka, Koyaanisqatsi and the people who made them.