"Baraka" Review

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Today I'd like to talk about my favorite film, "Baraka". Please be warned that this is not going to be an objective review because I have grown to love this film over the years. That aside, lets begin.

Now, If we let it happened…the tranquility that Baraka transmits on the very first 10 minutes of the movie will slow us down and immerse us to a high and deep spiritual level.

The first shots in Nepal are really breathtakingly beautiful. The music in that part is sort of a re-mix from Kohachiro Miyata’s solo flute album “Shakuhachi - The Japanese Flute” (Recommended!). What the master Michael Stearns adds to this solitary flute, is a space, an ambient, turning this already beautiful and profound Japanese flute into something transcendental.

I can only compare Ron Fricke’s cinematography to Stanley Kubrick’s 2001, or Barry Lyndon. Not because these films look similar, but because they are both made by extremely perfectionist people. The photography isn't risky, nor is it innovative or extravagant, it is simply perfect in every sense (composition, lighting and camera movement).

To my understanding, Baraka is one of the most meaningful films of all. Why? because it doesn’t talk to us. It limits it self to merely show us. Which forces us to make-up the story our selves. All our understandings, all our conclusions, are ultimately fabricated in our minds. And that's why Baraka is one really special gem.


About the author


Alejandro Hiraldo is a composer and filmmaker from the Dominican Republic. Has composed music for a variety of projects over the last 10+ years and has written and directed several award winning short-films. In 2011 he created his first solo album "Más Allá". In 2012 he unleashed his love for…

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