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Filmmaker Terrence Malick has always harbored the meditative and naturalistic nuances that seem to resonate so forcefully in his themed narratives. Malick’s movie-making consciousness and captive consideration for the visual sumptuousness of his brand of landscape cinema feels like a conventional tool for his sort of sweeping storytelling in method and styling. Well, **Voyage of Time: The IMAX Experience** certainly fits the bill when entertaining the filmmaker’s quest for his take on presenting the history of the world in a 45-minute documentary that is noteworthy in stimulating, eye-popping wonderment and speculative forethought. No doubt that Malick’s imaginative, succulent and hypnotic **Voyage of Time: The IMAX Experience** has convincing and concentrated scope as it explores the elliptical elegance through the realm of the natural world’s conception of creation. The exposition indeed is minimal in time but feels grand and inviting as it is reminiscent of a cryptic, scientific global field trip en route to The Museum of Science for soul-searching self-discovery. Malick’s **Voyage of Time** is a metaphysical feast for the eyes and an absorbing invitation for embedded curiosities and uncertainties. There are various degrees of lyrical layers that define a Malick-oriented artistic vehicle that strives to showcase an instinctual aura for a colorful canvas of a nature-driven opus. The writer-director’s lavish filmography have been rewarding spectacles that pitted his characterizations and plot-lines against picturesque projects that include 1973’s _Badlands_, 1998’s _The Thin Red Line_, 2011’s _Tree of Life_, 1978’s _Days of Heaven_, 2005’s _The New World_ and 2012’s _To the Wonder_ just to name a few features that justifies Malick’s creative and collaborative tastes for majestic, scenic and glossy showcases. Indeed, **Voyage of Time: The IMAX Experience** may have its questionable designated ranking in terms of where it fits into the evocative portrait of Malick’s stable of narrative gems saddled with vibrant visuals. Still, the formula manages to hold its own in **Voyage** as Malick challenges our personal journeys to seek out collective truths in what we inherited as a beautifully crafted world in an IMAX documentary that is spell-binding in its brief boundaries of screen time. In true fashion, Malick serves up two dependable components in his trademark exposition: the allurement of nature and narration. In this case Malick taps Hollywood hotshot Brad Pitt as the polished presentation’s narrator whose flowing voice-over delivers the dutiful task of playing tour guide for the indescribable planetary and galactic gazing of the breath-taking imagery that persists on the widened IMAX screen. It is a larger-than-life experiment that feels quite transfixing when it exposes its momentous helpings of scientific scenery that only an IMAX backdrop can accomplish to delve into Malick’s elaborate world-forming vision. The invigorating attempt to address the beginning of the cosmos on the big screen is a resourceful gesture and Malick ensures that his cinematic research is stamped with authenticity as he involves experts skilled in natural history, NASA consultation and of course special effect demonstrations that bring us what the Earth’s formations would have developed into from the theological frames of time, space, nature and yes…the rise of mankind and the mighty creatures (dinosaurs in particular) that once ruled the planet without early man’s stronghold, destructive taming or technological intrusions. Some may get the uneasy feeling that **Voyage** may be nothing more than a glorified, preachy on-screen science project on display. However, Malick’s philosophical and exploratory story of our worldly existences in life forms, powerful land masses and space odysseys should not be dismissed as merely a celluloid earth general science homework assignment for viewing. Malick’s foray into inquiring from Homo sapiens to revealing fossils from the earth’s valued soil to the evolution of our planet’s animal species both monstrous and meek to the miraculous configuration of massive land structures and oceans (and yes…the mysteries of the encompassing galaxies that still arouse our fears and fascination) are convincingly compelling and show an in-depth appreciation for the gained acknowledgement of our complex yet intriguing planetary surroundings. Sadly, the fragility of humanity is on the brink of destruction in a deluded contemporary world laced with the poisons of cynicism, distrust, perversion and inhumane deterioration. Thankfully, **Voyage of Time: The IMAX Experiment** is a critical reminder that our amazing start pertaining to the gift of life is grounded in the preciousness of our understanding for inheriting the aforementioned mysteries of physical existence and planetary purpose. However, the inevitable end of mankind’s meandering madness in today’s toxic climate threatens to pollute Malick’s **Voyage** existential interpretation for the nature-inspired beauty that emerged from the early civilizations of time and space. Whether you are a committed tree-hugger or techno-titan at large one thing is definitely clear–Malick’s adventurous **Voyage** is worth exploring with a conscientious compass at the environmental hip. **Voyage of Time: The IMAX Experience** (2016) Length of time: 45 mins. Narration by: Brad Pitt (Cate Blanchett in the longer, standard-format version) Written and Directed by: Terrence Malick MPAA Rating: G Genre: Documentary/Science and Nature Critic’s rating: *** stars (out of 4 stars) (c) **Frank Ochieng** 2016
Dan and Rhiannon Humes are filmmakers who craft their fans' dreams and fantasies into personalized, custom videos. The husband and wife team shoot the scripts their fans write and commission. Some are silly, some are sexual, and some are deeply personal experiences the fans want to recreate. Dan and Rhiannon's world is changed forever when they receive an unusual request they can’t refuse.
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
An essay on memory that explores the vision of life and death in the Far East. Shot in five Asian countries over three years, it recounts the director's real experiences.
From leaving Egypt 10 years ago, to almost dying a month ago in a car accident. This film is about the journey in between and the massive role the internet played in the life of prominent Youtuber and Yes Theory co-founder Ammar Kandil.
Have you ever woken in the night unable to move, certain that you are not alone? This is an experimental documentary examining what happens when dreams leak into waking life. It is about what is real, what is not, and if it even matters.
Three young people circulate in different mobility categories. The newly emancipated city goes through its everyday experiences.
Home movies and family photographs mixed with drawings and texts tell the story of a family that has lived with disease.
Johann Lurf‘s film Endeavour slides between documentary, avant-garde film, and science-fiction. This highly singular combination of materials and techniques gives the viewer of Endeavour a feeling of flight, as the film continually evades the gravity of genres and definitive definitions. Lurf uses NASA footage from a day and a night launch of the space-shuttle that follows the booster rockets from take-off to splashdown.
An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time. (Silent short, voiced in 1937 and 1996.)
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
Thoughts on the Purpose of Friendship follows two friends and their effortless friendship. The subtle interplay and hidden expressions between them remind us, in our increasingly transaction-based society, of the true and simple foundations required to build a friendship.