Naqoyqatsi (2002)
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48% of critics liked it
(52 reviews) -
70% of users liked it
(4,083 ratings)
Filmmaker, philosopher and activist Godfrey Reggio completes the film trilogy he began with Koyaanisqatsi and Powaqqatsi in this visually striking examination of the impact of technology upon our culture. Naqoyqatsi is a word from the Hopi language which roughly translates as "war as a way of… More Filmmaker, philosopher and activist Godfrey Reggio completes the film trilogy he began with Koyaanisqatsi and Powaqqatsi in this visually striking examination of the impact of technology upon our culture. Naqoyqatsi is a word from the Hopi language which roughly translates as "war as a way of life" or "a life of killing each other," and in this film Reggio uses a intense barrage of images - most of which have been drawn from existing film footage and then altered using a variety of optical and digital techniques - to express his belief that technology is no longer at war with nature. Instead, we have allowed technology to become the "nature" in which we live, and as it stretches our physical and emotional environment in new and troubling directions, we have created for ourselves a world of greater chaos, violence, and confusion. As with his previous features in this trilogy, Naqoyqatsi features an original score by Philip Glass, featuring cello solos by Yo-Yo Ma; director Steven Soderbergh, a noted admirer of Reggio's first two films, served as executive producer. ~ Mark Deming, Rovi
- Directed By
- Godfrey Reggio
- Written By
- Godfrey Reggio
- Genres
- Documentary, Special Interest
PG,
- In Theaters
- Oct 18, 2002 Wide
- On DVD
- Jun 24, 2003
- Studio
- Miramax Films
Critic Reviews
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Jan Stuart, Newsday
If the message seems more facile than the earlier films, the images have such a terrible beauty you may not care.
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Robert Denerstein, Denver Rocky Mountain News
At its best, Naqoyqatsi awakens the eyes, but it doesn't really do much to tweak the conscience. It's difficult to feel a sense of outrage while you're in a trance.
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Matt Weitz, Dallas Morning News
If you open yourself up to Mr. Reggio's theory of this imagery as the movie's set ... it can impart an almost visceral sense of dislocation and change.
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Michael O'Sullivan, Washington Post
Filmmaking at its purest and most visceral.
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Ann Hornaday, Washington Post
Pretentious, ponderous and redundant."
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