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| | Baraka |
 | | Fricke's imagery is overpoweringly beautiful, even that of desperate urban squalor, which may very well be another part of the film's purpose, to question how our culture's spiritually deficient, self-destructive path could have begun in such timeless, stately innocence. |
 | | Unlike Reggio's films (including POWAQQATSI), which were scored by Philip Glass, BARAKA less effectively uses a variety of music sources, from chanting Dip Tse Ling monks to Dead Can Dance's "Host of Seraphim" to spacey New Age material by Michael Stearns. |
 | | Thus, the crowded box-like Rio slum cuts to a towering mausoleum, while shots of an immense fiery furnace are intercut with the obscenely cold gas ovens at Auschwitz. |
| cours.cegep-st-jerome.qc.ca /511-411-p.l/baraka.htm (532 words) |
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