In 1993, Ron Fricke and Mark Magidson created *Baraka*, a profoundly affecting look at elements common to all human cultures, cautions about environmental destruction, and how technology was reshaping our lives. Filmed in roughly thirty countries using 70mm film, it stood out as one of the most visually striking movies ever made, largely because there was no dialogue or narration, allowing audiences to form their own individual interpretations of what they were seeing. Twenty years later, the pair released *Samsara*, a follow-up that didn’t seem entirely justified. A significant problem with *Samsara* is how often it feels like a direct copy of scenes from *Baraka*. The filmmakers return to many of the same locations—for example, Thai prostitutes, a chicken processing facility, factories producing home appliances, and people scavenging in landfills. Buddhism, the Ka'aba, and high church Christianity are shown again, but because the film doesn’t explore any religions beyond those featured in *Baraka*, these rituals come across this time as superficial displays of exoticism rather than genuine anthropological interest. *Samsara* also misses the narrative progression that was present in *Baraka*, feeling more like a random collection of images instead of the journey from reverence to horror and back that we experienced with its earlier counterpart. That’s not to say there's nothing worthwhile about *Samsara*. There is an impressive sequence featuring performance artist Olivier de Sagaza, and the unusual Dubai landscape is depicted in a level of detail few people (even those who have visited) have witnessed. Overall, *Samsara* has a darker tone, and while scenes showing the aftermath of Hurricane Katrina, a Wyoming family displaying their extensive gun collection, and an injured veteran might not be particularly shocking to Western audiences already familiar with such imagery, the vivid funerals in Nigeria and Indonesian men working in a sulfur mine (even though they know it’s harming them) are powerful and memorable. The visuals remain impressive, and on Blu-ray through my HD projector, the film is as detailed as its predecessor. However, *Samsara* doesn't offer enough fresh perspectives; surprisingly, it isn't particularly rewarding to watch again, and simply by existing, it risks diminishing the impact of *Baraka*, which was once a unique cinematic experience. I found it diverting enough to give it a 3-star rating, but I would still suggest seeing *Baraka*, and even for those who have already seen and enjoyed *Baraka*, I wouldn’t advise moving on to this film.

Source on TMDB