Boxoffice - August 2019

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Water World VICTOR KOSSAKOVSKY’S AQUARELA SPANS OCEANS AND LAKES AT 48 FRAMES PER SECOND BY KEVIN LALLY 70 AUGUST 2019
One of the most unusual theatrical releases this summer blockbuster season is Aquarela, a 90-minute documentary whose central subject is not a human being or a living creature—or is it? The focus of Victor Kossakovsky’s globe-spanning project is water: a frozen lake in Siberia, the icebergs of Greenland, the powerful waves of the Atlantic Ocean, the floodwaters of Miami during Hurricane Irma. Heightening the impact of Kossakovsky’s often abstract imagery is his decision to film in very high definition at 96 frames per second. Sony Pictures Classics opens the doc in New York and Los Angeles on August 16 and is making an effort to screen it in select venues at 48 frames per second. A native of Saint Petersburg, Kossakovsky has been making experimental documentaries since 1989. His 1992 feature Belovy won numerous awards, including the VPRO Joris Ivens Award and the Audience Award at the International Documentary Film Festival Amsterdam (IFDA), and his Vivan Las Antipodas! opened the 2011 Venice Film Festival. His latest film was partly inspired by an episode from Belovy in which he made a 1,000-kilometer journey in a tiny boat from a small village in Russia to the North Sea. Another inspiration: a visit to a house overlooking the Baltic Sea. “I noticed that the sea was different every day, every hour, even every minute,” he recalled. “I was never bored because the water was never the same.” PHOTO BY VICTOR KOSSAKOVSKY AND BEN BERNHARD; COURTESY OF SONY PICTURES CLASSICS RESCUING A SUNKEN SUV AT THE THAWING LAKE BAIKAL VICTOR KOSSAKOVSKY FILMING IN VENEZUELA PHOTO BY STINE HEILMANN; COURTESY OF SONY PICTURES CLASSICS Interviewed by Skype, the convivial director recalls his difficulty explaining his project to potential financiers until social issue–oriented production company Participant Media came along. “How do you convince people about visual things? If you say it’s about water, they ask you: ‘OK, but who is the character?’ And you say: ‘Water!’ ‘No, no, no, who is the character?’ ‘Water is the character.’ ‘Water? But what is the story? What happens?’ ‘Well, water goes from ice to water to steam to the clouds to rain.’ ‘But what is the story?’ People cannot get it. And of course if you say I want to make it so every single shot contains water and every single cut is motivated by that, they don’t understand. This was the biggest challenge. But by luck, Participant understood it—they saved the project.” Kossakovsky adds, “They have a human agenda, but they also have an agenda of quality. Most documentaries are about issues, but let’s not forget we’re still cinema, still art, still part of culture. It’s about the aesthetic imagination of AUGUST 2019 71
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