Aquarela

V' 18

Aquarela

Victor Kossakovsky
GB/D/DK/USA, 2018
Features, 89min, OmeU

© Viennale © Viennale © Viennale

Aquarela

Victor Kossakovsky
GB/D/DK/USA, 2018
Features, 89min, OmeU

Do
08
Nov
15:30
Gartenbaukino
Drehbuch: 
Victor Kossakovsky
Aimara Reques
Kamera: 
Victor Kossakovsky
Ben Bernhard
Schnitt: 
Victor Kossakovsky
Molly Malene Stensgaard
Ainara Vera
Musik: 
Eicca Topinen

Produktion: 
Aconite, Ma.Ja.De Film, Danish Documentary Production, Louverture Films, Anorak Film
Weltvertrieb: 
Lionsgate
Format: 
DCP
Farbe

Kossakovsky wollte endlich einmal den Regen auf der Leinwand nicht in Streifen, sondern in einzelnen Tropfen fallen sehen. Mit 96 Bildern pro Sekunde (statt der üblichen 24) fängt die Kamera Wasser in jedem Aggregatzustand, jeder Form, Geschwindigkeit und denkbaren Farbe an unterschiedlichsten Orten der Erde ein. Ein Fest für Auge und Ohr, denn auch die Musik hat bis zum dröhnenden Heavy Metal Verschiedenes zu bieten. Menschen tauchen hier nur sehr am Rande auf. Während das Team die Bergung eines in das Eis des Baikalsees eingebrochenen Autos filmt, bricht im Hintergrund das nächste ein. Wasser ist Quelle des Lebens, kann aber auch sehr gemein sein. (Ferdinand Keller)

In Anwesenheit von Victor Kossakovsky

A stunning documentary that might perform well at the box-office and should be definitely seen on a big screen with appropriate sound system. It was shot in 96 frames per second, “because the rain could be seen as separate drops of water, so it was clear that this was the right speed for water” (Victor Kossakovsky). Siberia, Greenland, the Atlantic Ocean or Venezuela are some of the locations the director picked to show the beauty and the power of water in any shape and conceivable color. There is no voice-over and no plot.
In AQUARELA human presence is mostly relegated to insignificance, but nonetheless the audience experiences a wide range of emotions from ecstasy to fear. Water is, of course, a source of life, but the movie depicts more often its force of destruction. At the beginning, while showing how a car is pulled out of the frozen waters of Lake Baikal, the camera catches another car in the distance cracking through the ice. A certain sense of danger keeps lingering throughout the film despite all the gorgeous imagery. (Ferdinand Keller)

In the presence of Victor Kossakovsky

Victor Kossakovsky: THE BELOVS (1994), WEDNESDAY 07.19.61 (1999), PAVEL I LYALA (1998), HUSH (2002), I LOVED YOU (2003), RUSSIA FROM MY WINDOW (2003), SVYATO (2005), LONG LIVE THE ANTIPODES! (2011), DEMONSTRATION (2015), GRAINE DE CHAMPION (2016)