VALUTAZIONE IMDb
8,2/10
42.648
LA TUA VALUTAZIONE
Una raccolta di fenomeni fotografati sapientemente. Filmati che si concentrano sulla natura, l'umanità e il rapporto tra loro.Una raccolta di fenomeni fotografati sapientemente. Filmati che si concentrano sulla natura, l'umanità e il rapporto tra loro.Una raccolta di fenomeni fotografati sapientemente. Filmati che si concentrano sulla natura, l'umanità e il rapporto tra loro.
- Premi
- 6 vittorie e 1 candidatura in totale
Edward Asner
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Pat Benatar
- Self
- (filmato d'archivio)
- (non citato nei titoli originali)
Jerry Brown
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Johnny Carson
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Dick Cavett
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Marilyn Chambers
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Sammy Davis Jr.
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Lou Dobbs
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Thomas Dolby
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Linda Ellerbee
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Jerry Falwell
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Mark J. Goodman
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Ted Koppel
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Peter Sellers
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Bill Tush
- Self - On TV
- (filmato d'archivio)
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizGodfrey Reggio was hooked on Philip Glass doing the music. He approached Glass through a mutual friend, and Glass replied, "I don't do film music." Reggio persisted, and finally the friend told Glass that the tenacious guy was not going to go away without at least an audience. Glass relented, though he still insisted he wasn't doing the music. Reggio put together a photo montage with Glass' music as the soundtrack, which he presented to Glass at a private screening in New York. Immediately following the screening, Glass agreed to score the film.
- BlooperThe two explosions at about 18 minutes into the film were shot with anamorphic lenses and not properly desqueezed for the film's 1.85:1 aspect ratio.
- Citazioni
[last lines]
title card: Translation of the Hopi Prophecies sung in the film: "If we dig precious things from the land, we will invite disaster." - "Near the Day of Purification, there will be cobwebs spun back and forth in the sky." - "A container of ashes might one day be thrown from the sky, which could burn the land and boil the oceans."
- Curiosità sui creditiEnd credits go over mashed voice recordings in English ranging from call operator answers to television news.
- ConnessioniEdited into Wide Awake (2006)
Recensione in evidenza
I first went to see this film almost by accident. Some friends were going, & it happened that Philip Glass was due to be in the cinema for an after-screening interview. I wasn't a huge fan of Philip Glass, I'd never heard of Koyaanisqatsi or Godfrey Reggio: but what the hell, I went along, expecting some sort of nicely-filmed but vaguely-boring worthy documentary.
An hour & a half later, I was - and I'm having to try very hard to find adjectives here - in fact I'm failing. It was The-Thing-That-You-Can't-Even-Tell-Someone-What-It-Is. Completely transfixed, transported, for 90 minutes of my life.
This film has no dialogue. It has no actors, apart from everyone & everything that Ron Fricke's camera touches. It has no plot, apart from just the simple, complex, unfolding story of the world.
The truth is, of all the films that people feel have really made an impact on their lives - and you only need to read through this lengthy thread to see how many of those people there are - this is one of the hardest to communicate to someone who hasn't actually seen it. You can compare it, perhaps, to things they might have seen - but there aren't that many to compare to. It has a kind of poetry on a whole different level from, for example, Man with a Movie Camera. The only things that spring to mind for me are Orphee or Last Year at Marienbad, but these are completely different kinds of movie, and even people who don't like them might be totally taken apart by Koyaanisqatsi.
Sure you could - rightly - use phrases like "breathtaking cinematography" or "unforgettable images". You could praise the music (which really opened my ears to Philip Glass). You could point out, as many have done, how the film made you look again at the world, & at your own place in it. Or you could try to relay its "environmental" message - and there are people, especially those who take any implied criticism of our species' waste and cruelty as a kind of personal insult, who will not like that message.
But none of these things would come close to capturing what makes this film so special. Like trying to explain "red" to someone who's never seen colours. You have to experience it. If possible in a cinema, sitting right down at the front, completely immersed in the screen and its images.
I know I'll never forget the first time I saw it. You might not either.
An hour & a half later, I was - and I'm having to try very hard to find adjectives here - in fact I'm failing. It was The-Thing-That-You-Can't-Even-Tell-Someone-What-It-Is. Completely transfixed, transported, for 90 minutes of my life.
This film has no dialogue. It has no actors, apart from everyone & everything that Ron Fricke's camera touches. It has no plot, apart from just the simple, complex, unfolding story of the world.
The truth is, of all the films that people feel have really made an impact on their lives - and you only need to read through this lengthy thread to see how many of those people there are - this is one of the hardest to communicate to someone who hasn't actually seen it. You can compare it, perhaps, to things they might have seen - but there aren't that many to compare to. It has a kind of poetry on a whole different level from, for example, Man with a Movie Camera. The only things that spring to mind for me are Orphee or Last Year at Marienbad, but these are completely different kinds of movie, and even people who don't like them might be totally taken apart by Koyaanisqatsi.
Sure you could - rightly - use phrases like "breathtaking cinematography" or "unforgettable images". You could praise the music (which really opened my ears to Philip Glass). You could point out, as many have done, how the film made you look again at the world, & at your own place in it. Or you could try to relay its "environmental" message - and there are people, especially those who take any implied criticism of our species' waste and cruelty as a kind of personal insult, who will not like that message.
But none of these things would come close to capturing what makes this film so special. Like trying to explain "red" to someone who's never seen colours. You have to experience it. If possible in a cinema, sitting right down at the front, completely immersed in the screen and its images.
I know I'll never forget the first time I saw it. You might not either.
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Dettagli
- Data di uscita
- Paese di origine
- Sito ufficiale
- Lingue
- Celebre anche come
- Koyaanisqatsi: Life Out of Balance
- Luoghi delle riprese
- San Onofre Nuclear Generating Station, San Diego County, California, Stati Uniti(as seen from San Onofre State Beach)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Lordo Stati Uniti e Canada
- 1.723.872 USD
- Lordo in tutto il mondo
- 1.728.124 USD
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Divario superiore
By what name was Koyaanisqatsi (1982) officially released in India in Hindi?
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