In poche parole
Le cose sono molto più complicate di poche parole.
Questo film cerca di descrivere la storia del Mondo attraverso immagini, 3.000 per l’esattezza, con un montaggio molto veloce.
In the 1920’s, Russian cinema genius Sergei Eisenstein pioneered the use of montage in film. According to Eisenstein, “narrative always proceeds with an eye towards rhythm.” By juxtaposing images one after another in rhythmic, ideological montage one could “express abstract ideas by creating relationships between opposing visual intellectual concepts.” This theory is the crux of Friedli’s film. To capture existence, he first pared down global themes and subjects into recognizable objects. It was deeply important to him that each object reflect something beyond the literal. The first image in the film is that of a seed, which can be seen as the seed of an idea and also, of life. From there, Friedli takes us into “the birth of human consciousness, leading to the discovery of mathematics, languages, architecture and art.” The more nuanced subjects of industrialization, war, and technology required careful planning, precise props and extreme ingenuity. For example, to represent World War II, Friedli recreated a life-size atomic bomb piece by piece. The scale of it was so large that the animators needed to move to an entirely new studio just to animate that segment.
To complete the montage as Eisenstein described it, Friedli’s images needed rhythm to find the narrative. Using hyper-fast stop-motion and ingenious digital compositing, he paced the film so ridiculously high that it forces one to read in between the lines or rather see in between the frames.
the film’s cycle ends with a microchip (i.e. nutshell), a small piece of technology large enough to store incredible amounts of information. One could infer different possibilities of where technology might take us if the film were to continue, but instead, in the post credit scene, Friedli starts the cycle of life again with the seed transforming again. The real thesis of the film is that, no matter what, “life keeps going in cycles.”