Koyaanisqatsi is one of the finest examples of an experience very rare in life when art is surely able to carry you to a different place. I have rarely seen films end on such a powerful note but then again, I have not seen many movies like this. Though today was the third time I was seeing this and it blew me away harder and better than it had the first time.
The part which totally dissociated me from myself and in towards the film and its message was in fact one of the ending scenes where the exploded engine of Atlas-Centaur plummets through the atmosphere back towards the ground. As it seemingly falls free yet tumbling against an unseen force which burns and bends it whenever it resits it too much, within a few minutes the now-absorbed viewer might suddenly remind himself to check whether this fall is really that long as shown or rather the director’s obnoxious little trick. The slow rotation and the burning up of metal section by section with each spin is terrific to see. This huge piece of human genius, dreams and effort condensed into a mass burns away right before your eyes against the bluest of skies.
Countless other interpretations could go in there and I am sure they do because this film is purely at a level that is meditative yet not focused on a certain message or agenda. All of this happens while Philip Glass takes you back to square one, back into the ground from where you came alongwith the melody of a primitive beginning now louder and more confident than ever – worried but optimistic. What else can represent the human spirit and life better than this I really do not know.