Samsara is beyond pretty visuals though that's the first thing you notice. There is a story and a connection between every image in this movie which is a sequel to the similarly made Baraka in 1992. From Tibetian Buddhist retreats to the sprawling freeways of Los Angeles, from pictures of a tattooed hulking giant cuddling his baby to sex dolls being mass produced Samsara will at once shock and humble you. This documentary is universally admired, and you should definitely give it a shot. If you love photography than this is a must watch.

Samsara is beyond pretty visuals though that's the first thing you notice. There is a story and a connection between every image in this movie which is a sequel to the similarly made Baraka in 1992. From Tibetian Buddhist retreats to the sprawling freeways of Los Angeles, from pictures of a tattooed hulking giant cuddling his baby to sex dolls being mass produced Samsara will at once shock and humble you. This documentary is universally admired, and you should definitely give it a shot. If you love photography than this is a must watch.

Samsara, a Sanskrit word, means birth, life and death. I think this is a documentary that focuses on three loops and creates an incredible atmosphere. Music and breathtaking images are accompanied by questioning our lives and almost silent screaming. We continue our routine life. Instead of going through this cycle, we continue. Rather than thinking about what is happening, we keep our routines alive. Instead of pursuing our own dreams, we are doing nothing but realizing the dreams of other people. We do not know how to live peacefully and peacefully. We are losing ourselves to earthly affairs, breaking each other, killing, we condemn. Some people can not make money when there is peace and tranquility in this world. I believe that the people who watch Baraka and Samsara will differentiate their views of life.

Beyond its visual glory, or its inspiring adaptation of the moving portrait, Samsara is a powerful visual poem on humanity. I felt extreme terror as well as wonder while watching this film, and eventually, I had made new realizations about the human condition, something which was clearly was an admirable goal of the directors.Man man seems newly enslaved by a society so rapidly evolving that it efficiently directs the imperfect behaviors of humans towards a collective goal, such that we begin to function as cells do in the human body: as the expendable building blocks of an unsympathetic and greater whole.If slavery and life are intertwined through the struggle against death, where then, is freedom? Idyll? No, that is impossible. Whence man could do something for nothing at all. Endless rows of factory workers performing the same rote task ad nausea represent a failure to achieve this. However, the contrasting images of enormous crowds of Muslims encircling the Kaaba, also minuscule cells in a larger construct, or of the group of monks who work tirelessly on something only to later destroy it, present a solution: freedom is merely the freedom to choose your own form of slavery, rather than be subject to one forced upon you by an external force or by laziness.I believe Ron Fricke was trying to communicate this, but that by ending the film with more of my favorite shot from the film, that of a pristine barren desert, wind echoing the silence of it all, he was also trying to take a step back form the overwhelming beauty and horror of life on this Earth and offer reconciliation: all we are is dust in the wind. One can fall back into the eternal caress of death, where even the suffering of an entire species can seem distant and unimportant.