De kracht van water – trailer

[Anna @akrasko97]

Een documentaire over water, de kracht, de power, de adembenemende schoonheid – film Aquarela uit 2018 door Victor Kossakovsky

Виктор Косаковский. “Акварель” // Трейлер фильма – YouTube

Korte trailer: https://www.youtube.com/watch?v=3xAIuDF25kE

“Water. It is her world. We only live in it.”

Een fragment uit een interview met Victor Kossakovsky – over de rol van de natuur voor zijn films

“ZS: I’ve noticed both in Aquarela and Gunda, there are strong connections to nature, is that your source of inspiration? How do you chose your topics?
VK: It started earlier, 10 years ago, when I was making a film “Vivan Las Antipodas!” It is about how people and places are diametrically opposite from one another on the surface of our planet. Let’s say, we are in Europe, but who lives at exactly opposite point, upside down? Is there a connection between us? So I kept thinking about it – if you put two people from absolutely opposite points of the world in the very same frame, next to each other, you have a great image. In the beginning, I wanted to see how people are here and on the opposite side of the world at the same time. If we are precise geometrically and geographically, it might be an interesting coincidence, especially that most of the planet is covered by water, so you don’t have that many places which correspond with each other across the world. Poland’s opposite is the ocean, Spain’s opposite is New Zealand. When I went to New Zealand I started filming a story of a whale who committed suicide and how people wanted to help, but they couldn’t because the whale was huge – 17 meters long. Then the local, indigenous people of New Zealand Māori, were supposed to bury it, but it was so huge, they didn’t know how to move it. They spent around 3-4 days burying it, so at first glance it looks like a film about people, but it was actually about the whale and about a dog who was running around and ocean itself. What happened was because they couldn’t move the whale they decided to cut it in half, so you could see what was inside the whale and I noticed I was afraid to look inside, like it was a big magical secret. Every time I was running around and filming, when I was from that side I was not able to film, I kept turning away. Then I noticed that there is a dog which was running around the whale, very excited, but when he came to the cut, he was not looking either. You’d think it was the opposite, there’s blood, there’s meat a dog can eat it and grab it – NO, the dog was not able to look. It was an unbelievable moment. Then I calculated what what the opposite side of the world and on the opposite side there was a rock, same size and shape as the whale. You wouldn’t believe it, you could not miss it!
So I started thinking, there are no people here, what can I film and I settled on a caterpillar, which became a butterfly at the end of the film. I later found myself in Africa, wanting to film a woman there, suddenly a hundred elephants crossed my frame and one came so close to me, to the lens, that you could see his skin, one full frame, only his skin. I didn’t know why I needed it, but then I came to the opposite side of the world, Hawaii, and it appears that volcanic lava, when it’s frozen looks like the skin of an elephant. In Chile there was a man who had 200 sheep, he knew all of them by name. In he morning he would go “Hello Maria, hello Anna, how is your stomach, how did you sleep?” Smoothly, my film became not about people, but about the mystery of this world, in my film the whale, the elephants, the sheep, the condors,  the butterfly – they are just as important as humans. Bradbury talked about the butterfly effect and this is what happened to me, my film became something else to me.

We are in an anthropocentric period of human history. We overestimate our presence, our importance, we always talk about us, how do we think, our emotions, our dramas, we do everything for us and we don’t care about anything else. For example, now I’m filming about architecture and I’ve come to realize that if an architect needs to build in a park or forest, they don’t care, they will cut tress out. An architect just cuts it out. This is what we do, we don’t care. It naturally happened that there were less and less words in my films, in Aquarela there were two or three lines or something, in Gunda there is none and I became closer to “10 Minutes Older” where there is no words. What we don’t use is, nature taught us to understand each other in one glance.  The animals in a Savannah  go and see other creatures and immediately know if they are is dangerous or not. We are the same, we know how to distinguish in 4 seconds if someone in front of us is friendly or wants to hurt us. How do you know it? Only by looking, it’s amazing! Our brain is a huge computer, but we don’t use it. People do cinema and they put voiceover, “This is an octopus, look” I know it’s an octopus! Let me see, let me watch. Cinema is closest to nature! Anyone can make a movie in their brain, just by looking around. You wake up, you go left, you make one movie, you go right, something else happens to you, you make a different movie.”

 

Bron: “As Humans, We Overestimate Our Presence”: An Interview With Victor Kossakovsky — Business & Arts (businessnarts.com)

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