Tag Archives: philip glass

sonntagsfilm 62

Naqoyqatsi: Life as War:
is a documentary film released in 2002; it is the third and final film of the Qatsi trilogy by Godfrey Reggio. The film focuses on society’s transition from a natural environment to a technology-based industrial environment. Koyaanisqatsi, the first of the “Qatsi” films, was released in 1983. The second, Powaqqatsi, was released in 1988. All three were scored by Philip Glass.

The name of the film is a Hopi word (written properly as naqö̀yqatsi) meaning “life as war”. In contrast to the first two parts, the majority of Naqoyqatsi was created not by filming in the real world, but by using archive footage and stock images, manipulated and processed digitally on non-linear editing workstations and intercut with specially-produced CGI. Reggio described the process as “virtual cinema.”


sonntagsfilm 61

Powaqqatsi: Life in Transformation:
Powaqqatsi: Life in Transformation, is the 1988 sequel to the experimental 1982 documentary film Koyaanisqatsi, by Godfrey Reggio. It is the second film in the Qatsi trilogy.

Powaqqatsi is a Hopi word meaning “parasitic way of life” or “life in transition”. While Koyaanisqatsi focused on modern life in industrial countries, Powaqqatsi, which similarly has no dialogue, focuses more on the conflict in third world countries between traditional ways of life and the new ways of life introduced with industrialization.


sonntagsfilm 60

Koyaanisqatsi: Life out of Balance:
is a 1982 film directed by Godfrey Reggio with music composed by Philip Glass and cinematography by Ron Fricke.

The film consists primarily of slow motion and time-lapse photography of cities and many natural landscapes across the United States. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and music. In the Hopi language, the word Koyaanisqatsi means ‘crazy life, life in turmoil, life out of balance, life disintegrating, a state of life that calls for another way of living’, and the film implies that modern humanity is living in such a way.