Static things might be interesting for photos and paintings, but for films in general, it is interesting when you are sad one minute and then you laugh the next minute. If it is something static, something that doesn’t move and doesn’t change, it is not interesting for cinema. My first question would be, why water? What exactly attracted you to this portrait of water in the first place?įor any filmmaker, the basis of cinema is to film changes.
You don’t really need words at all and you let water speaks in its different forms. What really strikes me is that it is a film which is truly universal. It is a pure feast of images and sounds, which delights, frightens, and provokes.Īt Venice International Film Festival I grabbed the chance to talk with Victor Kossakovsky about water, water color, images and sounds, and cinema’s power. He lets images and sounds speak for themselves and leaves the interpretation completely up to the viewers. Here, water is personified into an emotional being with feelings and temper, and through water the powerful message about climate change and its consequences are conveyed in a very visceral way.
AQUARELO TRANSLATION SERIES
As the title “Aquarela”, meaning “water color” in Portuguese, aptly suggests, the film looks like a series of abstract water color paintings about water, drawn by water. Water being the most important character throughout the film, Aquarela is a narrative about the element in many different forms, from ice to water, from iceberg to water, from rain to storm, from water to waterfall, and from water to vapor. It is everything that cinema should be and at the same time, something that we have never seen on screen before.
Watching A quarela, a documentary under the section of Out of Competition in Venice International Film Festival, is definitely one of the most inspiring experiences during this year’s program.
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