Samsara
Ron Fricke
Oscilloscope
Uniqueness is something that is treasured in the cinematic world. To many writers, producers, and directors, it holds a value higher than any box-office record or Academy Award. Ron Fricke is one of the few modern filmmakers with a completely unique style and vision.
His documentary Samsara is the long-awaited follow-up to Fricke’s 1992 masterpiece Baraka. Both films feature no dialogue, characters or conventional plotline. Fricke wrote, directed and was cinematographer for both films. Fricke has also been involved as a cinematographer for similar movies such as 1982’s monolithic Koyaanisqatsi.
A major aspect of what makes Fricke’s movies so unique is that they are shot on 70 millimetre film, which gives his movies a bright and detailed atmosphere. Films such as Lawrence of Arabia and 2001: A Space Odyssey were also filmed in this format, so fans of older films will sometimes note a distinctly warm and nostalgic look to Fricke’s work.
Samsara, like other films Fricke is involved in, features very distinct themes and messages, although the way they are presented is highly unconventional. The movie’s title is a Tibetan word that refers to the constant cycles of life and death. These ideas of mortality and the cyclical nature hang over the film in a dark and foreboding way.
Fricke’s previous films typically do not feature many scenes showing humans, but Samsara explores human patterns and rituals in great detail. Some shots show tombs and people long dead, others focusing on images of baptisms and fetuses. Some of the film’s most interesting shots are those that explore humans in their everyday life. Fricke makes excellent use of time lapse photography to highlight the repetition in such things as eating a hamburger, working at a factory or praying. This is Fricke at his most pessimistic, as these scenes often evolve into sinister portrayals of humans as mindless or robotic.
Despite Fricke leaning towards a more ugly or dark portrayal of the world, the film never strays from its visual beauty. Samsara is just as easily enjoyed as a cerebral movie as it is a visual one. The 70 millimetre filming style, coupled with Fricke’s rigorous filming styles creates a dreamlike world. The images are completely different from what you would expect from a documentary filmed primarily in Tibet and China. Fricke establishes a completely unique cinematic language, contextualizing every image as a powerful message. The visuals are almost always the most important part of Fricke’s films, and Samsara is no different.
Samsara is a truly brilliant film. It is the work of a person who has a specific vision and the full ability to realize it. As soon as I exited the theatre, I began comparing the movie to Fricke’s previous full-length, Baraka, and found myself at a failure to hold one above the other. Both films are strong movies that share a similar production style, but convey a wholly different message. It is clear that when Ron Fricke makes a movie, he ensures that it is a strong and seamless work. Samsara will hopefully gain the wide attention it deserves, and will definitely be a favourite among film lovers this year.
