Where is samsara filmed

Samsara is the first film by director and cinematographer Ron Fricke Koyaanisqatsi , Baraka in nearly 20 years. Following in the footsteps of his earlier work, it will be completely devoid of dialogue and text, relying solely on compelling visuals shot on 70mm film.

Filmed over a period of almost five years and in twenty-five countries, Samsara transports us to sacred grounds, disaster zones, industrial sites, and natural wonders.

By dispensing with dialogue and descriptive text, Samsara subverts our expectations of a traditional documentary, instead encouraging our own inner interpretations inspired by images and music that infuses the ancient with the modern. Is the "prison dance" real? In which country does it take place? Details Edit. Release date August 23, Germany. Official Facebook Official site. Sultan Ahmed Mosque, Istanbul, Turkey. Box office Edit.

Technical specs Edit. Runtime 1 hour 42 minutes. Datasat Dolby Surround 7. Related news. Freedom of expression issues clouding virtual reality world, according to Venice VR Expanded heads. Sep 3 ScreenDaily. Contribute to this page Suggest an edit or add missing content.

Top Gap. By what name was Samsara officially released in India in English? See more gaps Learn more about contributing. Edit page. See the full list. Watch the video. Recently viewed Please enable browser cookies to use this feature. Yes, the closing credits function as a kind of square-up reel, listing all the locations, but the names go by too fast and come too late to offer any real help. Sometimes finding the locations requires detective work worthy of Sherlock Holmes.

A Google search of the initials CPDR that appear on the shirts worn by men at a dance reveals the existence of the Cebu Provincial Detention and Rehabilitation Center, a maximum-security institution in the Philippines that specializes in mass inmate dancing.

Included for our viewing are shots of a grossly overweight man being prepped for surgery as well as a glimpse of the disturbing performance art of Frenchman Olivier de Sagazan. Also problematic is the thinking behind the filmmaking.

Some of the connections made are too obvious, like following images of ammunition with a portrait of a severely wounded veteran, while others are completely elusive.