Takes us to locations all around the US and shows us the heavy toll that modern technology is having on humans and the earth. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and the exceptional music by Philip Glass.
human vs nature technology civilization social commentary rural area nature run amok nature environment environmental destruction lost civilization observational cinema environmental disaster nature documentary man vs nature environmental catastrophe observational documentary poetic documentary environmental documentary human in nature independent film no dialogue dying civilization environmental collapse environmentally-themed
Harri reviewed Koyaanisqatsi (1983)
Introduction to Civilization with a Pinch of Healthy Counterculture
One insightful critic described Koyaanisqatsi as "an alien travel documentary on the Earth". This is a very profound statement, illustrating the genius of the film in expressing substantial content with minimal language. It is actually a good approach to the film to start with the question: what should be communicated of our modern culture and how to communicate it? Koyaanisqatsi can feel like a journey through foreign territory because its cinematography is constructed in a way to make the viewer feel they are watching strange and mystical things, even though the concrete subject matter revolves around modernity, technology and nature.
The fact that Reggio succeeds in creating such a powerful effect of alienation is eye-opening, to say the least. However, this does not mean that Koyaanisqatsi imposes a message for anti-technological counterculture, even though it seems to suggest a somewhat sceptical view of the Western project of progress. "Life Out of Balance" does clearly imply disharmony with nature and transience of civilization, but on the other hand, cinematographic presentation does not really distinguish between natural life and civilized life. Rather, it finds similar harmony and symmetry in both. In other words, even though civilization appears transient and unstable, it can still be regarded as belonging to the natural world and embodying ample beauty that parallels that of uncultivated nature.
Music by Philip Glass is crucial to the whole. The way Glass connects simplistic structures to create almost hypnotic ambience is brilliant. "Minimalist" features add to the provocative nature of the paralinguistic narration. Of course, no traditional narration is given, which leaves a lot of significance to the title of the movie and the few words in the end. It also encourages the viewer to pay closer attention to juxtaposition of images and to the rhythm both in thematic presentation of imagery and changing musical themes.
So what is Koyaanisqatsi about, in the end? Having observed the reactions caused by this movie, not excluding personal experiences, I have noticed that it works rather well as a mirror, telling the viewer more about themselves than about anything else. Put in to a larger perspective, the fact that the film has no plot serves as acute commentary to the meaning of human civilization. There is abundance of similar provocative substance hidden behind the beautiful flow of images and music.
I did not rate Koyaanisqatsi so favourably due to philosophic consideration or aesthetic theories. Most importantly, I simply enjoy this film immensely every time I watch it or even when I catch short clips here and there. Intellectual stimulation provides a welcome bonus and makes the experience even more memorable and meaningful. Koyaanisqatsi is a beautiful and enlightening establishment - clearly one of the cinematic monuments of the 20th century.
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