Hellen I like the storyline of this show,it attract me so much

Wordiezett So much average

Portia Hilton Blistering performances.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

philiposlatinakis Koyaanisqatsi is a watchable film. It isn't pretentious and it isn't a masterpiece. The ending is a bit anti-climactic and the music a bit mediocre but it doesn't really drag and holds up to scrutiny. It didn't actually come across as anti-technology or anti-civilization, although the warning at the end would suggest otherwise. There are two acts and an epilogue. Act one is about the power of nature, and act two is about the power of man. The epilogue converts the faceless masses of Act two into individuals and introduces explicitly the coda of the film in the warning.I enjoyed watching this even after reading the negative reviews on IMBD which had me guessing that I'd wasted my money on the DVD. I could probably watch this film again. The Philip Glass music was a bit disappointing though. Not up to the standard of Mishima: A Life in Four Chapters, and the thankfully sparse chanting didn't work.

Michael Kolesidis Koyaanisqatsi, life out of balance.Everything you might have heard about this film is probably wrong. How can they say that it has no characters, plot or narrative structure? The main character is life itself, delivering an outstanding performance, supported by characters such as the earth, the works of nature, the works of humans, destruction and humans themselves. The plot is simple and ingenious, juxtaposing nature, to humanity. Humanity as part of nature but mainly humanity cut off the nature, cut off its human elements, unveiling beautifully in a narrative structure that leads to a satisfying end, the final realisation of what live on this planet as an anatomically modern homo sapiens has come to. ''The smartest mammal on earth'' alienated from nature, from society, deprived of its most fundamental right, the right to be human. n short, this film is the most subtle critique of the modern way of living.It delivers its message without using any dialogues. No words whatsoever. Beautifully shot by Ron Fricke, pioneering techniques, such as time lapses and breath-taking points of view, exposing life like it has never seen before.And the music. Mystic. Magnificent. Setting the tone of the whole film and inviting you to become part of the whole experience .An excellent documentary from all aspects. A future Voyager space mission should definitely contain a copy of this film. This is our planet. This is our life.

Petter P A very beautiful flow of clips, even though some of them should frighten more than intrigue.The tempo is also part of what makes is so captivating. The clips slowly builds up and creates an alarming story. At the same time every sequence stands on its own. The lack of words gives it an almost alien view of earth and man's relationship to the planet. Together with the score by Philip Glass it sucked me in and I have rarely been so focused on every frame throughout an entire movie. It must have been quite amazing to see this in a movie theater back in the 80's with the big screen, speakers and also i guess in a time when similar creations were more scarce than now. It's by far the most visual movie I have seen and the fact that it only relies on images and music to tell a story made it bypass my rational filters and made me fully present in the moment for 86 minutes straight.

MisterWhiplash As soon as you hear that a film like Koyanisqatsi (or any of the 'Qatsi' movies, it's technically a trilogy) is no dialog, no 'story' in the fictional-character sense, and is driven by a marriage of landscapes (in the realms of deserts and mountains, and the modern urban sprawl) matched to Phillip Glass music, you'll know whether this sounds like something to watch. Some will not want to go anywhere near it. And yet this is one of those rare films, like many silent-era motion pictures, and Disney's Fantasia, that can be shown in any culture, anywhere in the world, and people don't have that element of communication keeping people apart or at a distance, or in need of translation. What is shown in Godfrey Reggio/Ron Fricke's Koyaanisqatsi (aka "Life Out of Balance") can be generally understood, at least if one follows the progression of one image to another - which, to not be snobbish, is kind of what filmmaking is essentially about - in giving the impression of what happens when one moves from the barren-natural world of mountains and deserted, rocky land, and that built upon by humans in cities.And what is there in cities but technology; we need energy to survive, and cities have to provide energy, and, for myself this is one of the main thrusts of the film, people in cities feed off of that energy. Reggio and cinematographer/writer/Fricke (the latter would go on to make films in a similar, visually-aural-driven range with Baraka and Samsara) are all about charting how things are breaking down, and yet constantly moving. They accomplish much of this visually by showing things in slow motion and fast motion; what you see sometimes today on YouTube or Vimeo of cameras being tested at the high-frame rates and the low F-stops - for camera people, think of getting a camera to 3 frames per second, and conversely at 3,000 frames per second, or something extreme like that - and you get the idea of the visual ambition here.It took years to make this film, and yet it was all driven by what is essentially in the documentary form - showing the world as it is. A documentary will be 'scripted' after the film has been sought out and shot. But the experiment here, what sets this film apart so much from other films in the world, documentary or otherwise, is how the filmmakers have to give any messages through the flow of visuals - and the music. Interestingly, Phillip Glass scored the film in twelve sections, and then the director heard this music and re-cut the film to fit the music. So it's like one has to fit with the other, and it goes without saying this is music as intense as you'll hear in a movie. It will sometimes go to a slow crawl, with the organ playing smoothly, and then other times, as the montages ramp up and people move about in the masses and through places and in cars and on the streets, the music is not so much setting the mood of the players as keeping in exact lock-step with what's on the screen. It's a rush.At first, I didn't know about the technological-focused scope of the film, and it opens with the shots of the mountains and deserted plains and so on, and I thought this would be it for the film - not bad in the slightest, but... is that it? But the transition into the sections on the cities, with it first seeing the urban decay and poverty in cities (I think it's New York, it's hard to mistake it at that period of the time in the late 70's and early 80's as anything else). Then, buildings come crashing down in demolition, which continues the notion, I think, of building things up only to have to crumble them down again when they're no longer good. And then, in the main chunks (and certainly what people will probably remember most from Koyaanisqatsi), the many, many people walking, driving, going through transit, playing video games (seeing Ms Pac-Man in fast-speed is a highlight), and also how things get moved along in factories like hot-dogs and jeans.The great thing about the film, if one meets it all halfway, is that it doesn't really hold your hand about anything. One person may take this as being a condemnation of how modern society operates in cities - and this is 35 years ago, one wonders how Reggio and Fricke see this all today, with people now not even looking forward as they walk or move but at their phones and laptops - or, on the other hand, a person may take this as an ode-to-joy, a symphony of technological breakthroughs and how people co-exist with one another (aside from the building collapses, there's no real violence depicted... well, aside from the MEGA violence that comes with nuclear blasts, which are I assume stock footage in part). There's no one interpretation with a film like this, or others like it like Baraka.For myself, I think it's a grand provocation of the human spirit and what we're capable of, about if we are taking things for granted. There's all this technology, and it's so easy to get around in cars and (in America, relatively) easy to navigate around from place to place. Yet there is in parts great poverty in areas people may not care always to look, especially when skylines go up high and people are successful. And the film ends on an aching, poetic note of a part of a rocket (or is it a spaceship) coming down in slow-motion, to that one Glass organ. I hope to return to this again and again.