It’s hard to explain to the uninitiated just what a film like “Samsara” is all about. One could say it’s a nature documentary but that’s not entirely accurate and most potential viewers would immediately tune out. Tell folks it’s is a non-linear audiovisual meditation and you’re more likely to be met with blank, cross-eyed stares.
Suggest it’s a mind-tripping “head” film and people will assume you’re on dope.
What’s it all about? Absolutely nothing—and everything.
Completely plotless and without dialogue, “Samsara” represents the purest form of cinema: it’s entirely sensory and illuminating but without a documentary’s pro/con political thesis. The film is simply a lengthy montage of magnificent dream-like visions from around the world, juxtaposing the grandeur of pristine nature with the irrevocable influence of humanity and technology.
The word “samsara” comes from the Sanskrit for “continuous flow,” and the film’s imagery navigates the unending circle of birth, life, death and rebirth.
Still with me? Good, because despite some disturbing sequences, this is not nearly as portentous as it sounds.
Art-house enthusiasts will recall similar man-versus-environment films such as the “Qatsi” trilogy (“Koyaanisqatsi,” “Powaqqatsi” & “Naqoyqatsi”) and “Baraka.” The parallels are appropriate: before “Samsara,” filmmaker Ron Fricke directed and photographed “Baraka” in 1992 and co-wrote 1982’s “Koyaanisqatsi.” Filmed in 70mm over the course of five years in 25 countries, “Samsara” could be considered a sequel, a follow-up or a companion piece to any and all of those films, but it’s essentially the same movie, captured with better state-of-the-art equipment.
The Blu-ray edition of “Samsara” is a reference quality disc that will handily demonstrate for boastful aficionados the capabilities of their HD flat-screens. The 8K “UltraDigital” high-definition transfer is nothing short of stunning—eye-popping close-ups of an intricate Tibetan sand mandala reveal every single grain; textures of mountains and canyon walls are practically three-dimensional; gliding time-lapse tableaus are luminous and mesmerizing; richly ornate architecture is impossibly vivid. The film is a veritable feast for the eyes.
And the ears. Like “Baraka” before it, “Samsara” is married to an ethereal soundtrack by Michael Stearns, who collaborates this time with Lisa Gerrard (co-founder of the world music group Dead Can Dance and vocal contributor to Hans Zimmer’s score for “Gladiator”) and Marcello De Francisci (an up-and-coming composer whose work so far has been featured in more movie trailers than actual films).
What you’ll get out of “Samsara” is dependent on what you bring to it. Open your eyes, tune your ears and let your mind wander as Fricke takes you on an unforgettable journey across the globe.
