Revisiting ‘Baraka’

DVD Review 2-Disc Special Edition of Baraka

Few films are able to truly show our world for what it is better than Ron Fricke’s Baraka. From its mesmerizing beauty to its often-troubling complexities, Baraka is a universal masterpiece of filmmaking. To this end the film is essential viewing for any and everyone even remotely interested in the bigger picture

To appreciate Baraka one must appreciate the complexities of the world we inhabit. One must be able to be in total awe of its splendors while being equally as disgusted in its horrors. The film is a testament to how beautiful and how horrific this planet and those who inhabit can be and furthermore how despite our many differences people share the same common thread of being human.

The word ‘Baraka’ has various meanings and is a staple in a handful of global languages. Ron Fricke has often spoken of its Arabic and ancient Sufi roots, roughly translated to “the thread that weaves life together.” The daily grind of life–both at a natural pure level and man-made–is the film’s focus. The globetrotting editing, the fast time-lapse photography and the film’s depictions of humans as tiny parts of a vastly bigger whole offer viewers a glimpse at how immense but also how united this planet is. When it’s all said and done life is what ties this world together.

Shot over the course of 14 months at 152 locations of 24 countries, on six major continents, Baraka is also a traveler’s dream project–a hypnotic trek of the planet and its many cultures told simply through the marriage of motion pictures and music. From a cinematographer’s standpoint Baraka may be one of the finest photographed films ever made, revolutionizing preexisting large format motion picture technologies (the film was shot in the 65mm Todd AO format then transferred to 70mm print stock, resulting in extreme widescreen shots originally used for epic films of the 50s, 60s, and 70s).

Baraka was released in 1992 and has since then fallen into the depths of cult film status–unfortunate considering the film’s timelessness and international appeal for viewers. Its relevance today is marked by its recent re-release on DVD and Blu-Ray hi-def format, a technological feat that makes the film even more impressive than its past home video incarnations. For the first time ever the film was scanned at 8K resolution, a revolutionary digital transfer process designed solely for Baraka, which may end up becoming the standard for future hi-definition film releases. The scan, which supposedly took three weeks to complete (a post scan detailed digital restoration would take even more time), presents Baraka in the way the filmmakers intended–with an all-encompassing widescreen presentation and with just the right amount of color and image rejuvenation.

As for the hi-def format of the film (which, sadly this writer has not yet been able to experience) if ever there was a reason to invest in Blu-Ray–clearly the future of home video entertainment–Baraka is it. Supposedly the level of detail and vibrant color saturation makes the eye candy images of the Planet Earth hi-def series look like child’s play. But enough with the technology focused DVD marketing.

Much like watching a sunset Baraka has the ability to put the viewer in a trance the minute the film begins. It is also a film that resonates long after its initial viewing with those who have seen it rarely experiencing the film only once.

Opening with sweeping shots of the planet’s highest points at the Himalaya mountain ranges the film is then taken down to earth as we glimpse into the daily routine of the rare Japanese snow monkeys living in the moment. The camera closes in on the sole creature enjoying the nearby natural hot spring, simply being; living in a Zen like state. From the epic ceiling of the planet to the simplest of its inhabitants, before the film’s title shot in front of a perfect lunar eclipse, one gets the notion that Baraka is going to be a one-of-a-kind cinematic experience.

It should be noted that the film’s editing is as impressive as the photography with Fricke and team sporadically transporting the viewer all around the globe from frame to frame. Baraka does not feature any dialogue nor is it rooted with a traditional storyline. Besides the beautifully scored music the only natural sounds heard are those of certain tribal songs and the ambient sounds of nature. What’s striking about Baraka is despite the film’s non-traditional structure and flow a central narrative somehow emerges.

One moment we’re viewing a primitive aboriginal tribe perform a funeral ritual, ten minutes later we’re taken to modern day Tokyo, a bustling, densely populated metropolis world’s apart from the aforementioned primordial setting. Later as the camera surveys some of the planets most visually breathtaking sites–Western U.S. rock formations, Brazil/Argentina’s Iguazu waterfalls, the mount Bromo volcano range in Indonesia–the viewer is then transported to mankind’s uglier side.

The slums of Rio de Janeiro and the endless garbage dumps in Calcutta, India serve as reminders of the chaos that somehow balances out the harmony. From flourishing life in a remote Kenyan tribe where villagers dress in vibrant garments to the bleak realities of Cambodia’s killing fields, Baraka doesn’t shy from highlighting our planet’s lightest and darkest moments. 

Baraka carries a spiritual message as well and could be perceived as a bit preachy at times. Still, nitpicking aside, it’s hard to deny the film’s central messages. Being one with nature seen through the Tibetan monks in prayer, the hypnotizing dance of the Dervishes, or the elderly Japanese peering out at a seamlessly perfect rock garden is key to understanding the film. Throughout Baraka there are plenty of moments showing the planet’s chaos–from the densely populated streets of pedestrians and toy like cars, to the shots inside endless factories and sweatshops–and also its grandeur. Watching the film it’s easy to get blown away by just how immense life and this is very much its intention.

Film has always been a universal medium still there are very few films that should be essential viewing for all.
Baraka without a doubt fits the criteria as a must see film. Its scope reaches for beyond simple nature documentaries (while similar in terms of photographical achievement Baraka is far more important and ambitious than BBC’s epic Planet Earth miniseries) and somehow manages to be more impressive than its sister films, Godfrey Reggio’s Qatsi Trilogy–comprised of Koyaanisqatsi, Powaqqatsi, Naqoyqatsi–of which Ron Fricke first made his presence known as cinematographer for Koyaanisqatsi.

The recent DVD release of Baraka should have received more attention and praise than has been bestowed (apart from its notoriety among cineastes alike, Baraka’s foray into the Blu-Ray market should spark the interest of any and all people in the retail industry interested in selling this new technology) but alas its release was overlooked. Besides its crystal clear picture (which one would assume is even more stunning in hi-def), lush color saturation and digital soundtrack remixing (an entire essay could be written in praise of composer Michael Stern’s score for the film in conjunction with Lisa Gerrard, of Dead Can Dance and the Gladiator soundtrack), the two-disc special edition of the film features a fascinating behind the scenes making-of documentary. Chronicling the film’s extensive shooting schedule (which followed the lunar full moon cycle so as to ensure night shots were well lit) the mini-featurette provides fascinating insights into how Fricke and his crew selected and attained rights to film at the various sights. Interesting tidbits regarding the homemade camera equipment and time lapse system are also worth noting.

For those who have seen the film now is as good a time as ever for its revisit. For those who have yet to experience Baraka the film exceeds any and all written praise for its power lies in its ability to suck the viewer in.

It might be wishful thinking to hope that the new DVD release might also prompt the film’s return to theaters (a transfer to IMAX, a medium that Fricke worked with for his second feature film Chronos, would also be welcomed) but if ever there was a film to be seen on the big screen this is it.

It should also be noted that Fricke has supposedly been filming an unofficial sequel to Baraka called Samsara, which, according to a press release from the filmmakers at, will be released sometime in 2009. The film will continue Baraka’s tradition of spiritual undertones this time focusing its attention on the cycles of life on the planet. According to reports the filming has taken Fricke and his team to over 20 different countries and the film has been shot in a new 70mm HD format that subsequently “will be the ultimate showpiece for both the HD format and high-resolution digital projection, as well as standard film projection.”

Baraka is not a conventional Hollywood film and will not be the first film to jump off the shelf at your local video store still its an important piece of art transcends all prior conceptions of what films should be. The film has the almost mystical ability to draw you in unlike any movie-going experience before and after its release. While some may find its unconventional format distracting, it’s safe to say that those who experience it gain a new outlook on life and a newfound intrigue towards this planet’s cultural diversity.