Seeing crests build to feed a wave in slow motion proves overwhelmingly pure. Equal parts calming and terrifying, there’s a majesty to watching this organic movement happen. It’s incredible to see, doubly so when considering how this was captured. Later, footage looks on at people in a cave, stuck in blinding mist, looking for a way out. One segment looks up at an ice shelf from underwater there’s no break in that frozen layer, and thus, no escape if something goes wrong. Aquarela’s footage is masterful, even brave. Then, Venezuela where flooding traps animals and turns people desperate. This is liquid power – whether the ability to drown vehicles without a wave or the potential to turn over ships when reaching a mammoth peak.Īquarela’s footage is masterful, even brave A boat is tossed upward, the captain frantically making adjustments. Mostly, Aquarela flies over water, capturing waves at their most turbulent. Slowly, the invisible narrative drifts southward. Without explicitly saying so, Aquarela admonishes the loss caused by human behavior, much as it celebrates these last glimpses into a frozen landscape.
Icebergs pass in the current, a beautiful image, then one collapses deep in the background. Aquarela begins among glaciers, letting a story of isolated life play out before the camera, completely undisturbed by music or voice over. Both films depict life, just in different places. To draw a comparison, Aquarela is to water what Koyaanisqatsi was to cities. Minus any title cards, exposition, or narration, Aquarela flows like the water it depicts.
Assuming one doesn’t read Russian to translate their jackets, it’s a surprise when they begin pulling a sunken car from under the surface. Aquarela’s opening shots look like a research team investigating arctic ice.
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