A film about water. Beauty, power and threat are mingled in Victor Kossakovsky’s latest work: the peace of the ice on Lake Baikal is treacherous. Under the surface it’s bubbling, melting – much earlier than usual. So a group of rescue workers is kept busy, pulling car after car from the frozen masses and recovering the drivers.
Icebergs are sinking in the sea here, storms drive torrents of rain aground in Florida, whole oceans are crashing down the Salto Ángel in Venezuela. 40 years after his debut as a filmmaker, 30 years after he graduated from the Higher Courses of Film Writers and Directors in Moscow and about seven years after his documentary “Vivan Las Antipodas!”, which measured the globe in geographical opposites, Victor Kossakovsky has produced another film that makes the landscapes of the world its protagonists. “Aquarela” shows bodies of water all over the world, in all their manifestations, in all their changing aggregate states caused by comparatively tiny differences in temperature. The camera maps on boats, dives under the surfaces, rises in the air to capture the expanse of space. Kossakovsky composes a visual symphony of primeval powers set to Heavy Metal music. The powerful images provoke awe, wonder flows from the screen like sea spray.
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