Visitors is the fourth collaboration of director Godfrey Reggio and composer Philip Glass now joined by filmmaker Jon Kane, advancing the film form pioneered by The Qatsi Trilogy (Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi) – the non-spoken narrative experience where each viewer’s response is radically different yet undeniably visceral. As Reggio explains, ‘Visitors is aimed at the solar plexus, at the appetite within us all, the atmosphere of our soul. I see the film as a meditation, as a transcendental event.’ Comprised of only seventy-four shots, a series of human, animal and landscape portraits, Visitors takes movie watchers on an emotional journey to the moon and back. As ‘a wondrous work of artistic achievement…art with a capital A’ (Austin Chronicle), Visitors moves into a class of film all its own.

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  1. Well, still watching it. The film, to me, is like a novel that has to be viewed (read) in sections and then viewed again and again to be understood. At first viewing, the juxtapositioning of images is very hard to take in all once. At present, I am not sure of the film's objective, and its objective may be both simple and complex consecutively. What does hit me, though, is the diversity of humanity and the diversity of human emotions expressed through our faces and hands. The edifices, on the other hand, are extensions of ourselves and have inherent contradictions within them. They are sometimes solid and weighty, and some are wispy and thread-like similar to the clouds above them. What can a person learn about humanity from this juxtaposition faces, hands, and architecture? Perhaps nothing actually tangible to be frozen in time and space, yet this film gives us a view of ourselves we only espy in quixotic moments, a view that we suspect but cannot grasp directly.


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