Sinopsis(1)
Aquarela takes audiences on a deeply cinematic journey through the transformative beauty and raw power of water. Filmed at 96 frames-persecond, the film is a visceral wake-up call that humans are no match for the sheer force and capricious will of Earth’s most precious element. From the precarious frozen waters of Russia’s Lake Baikal to Miami in the throes of Hurricane Irma to Venezuela’s mighty Angel Falls, water is Aquarela’s main character, with director Victor Kossakovsky capturing her many personalities in startling visual detail. (Venice International Film Festival)
(más)Reseñas (2)
Un documental visual poco interesante sobre el agua, sus formas, estados de ánimo y la cooperación con las temperaturas y el viento. Y las cifras de desconocidos que están «en guerra» con el agua en condiciones inhóspitas. El objetivo de la película no es mostrar planos impresionantes o bellos, en el sentido de que no está a la altura del mejor plano de Nuestro Planeta. Ni siquiera explica, ni comenta, ni pronostica nada. Y los interludios metálicos, que se adaptan a la naturaleza salvaje del océano tempestuoso, son de mal gusto, sientan como un tiro. Unas flojas tres estrellas.
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Excuse me, entrusting the music to one-trick pony Toppinen was whose idea now? Worse, it only appears about three times in the film, so it successfully disrupted my meditation to the roar of water walls, the crack of bushes, and the crashing of waves, which is unforgivable. But the Russian opening, with the cars being pulled from the bottom of Lake Baikal by short-tempered drivers, is again and again Life Imitates Art Scenic Depictions of Slavic Life. You can't make up a frozen wet Mongol with a Titanic T-shirt who just drowned his car in a lake.
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