Impressionen unter Wasser

Impressionen unter Wasser, a 2002 movie, presents a latter-day chapter in the fascinating career of revolutionary filmmaker, Leni Riefenstahl, best known for her propaganda films for the Nazi regime such as Triumph of the Will (1935). Striking a completely different tone from her notorious past, Impressionen unter Wasser represents Riefenstahl's exploration and celebration of the natural world, specifically the wondrous landscapes and creatures that exist beneath the surface of the ocean.

At the age of 100, when most people would be comfortably settled into their twilight years, Riefenstahl chose to protray the lesser viewed spaces of the planet, the world underwater, through her seasoned eyes. She embarked on an undersea adventure, diving with a team of younger, specially trained divers to steer and control the filming process, capturing marine life in a unique and unprecedented way that only someone with over seven decades of filmmaking experience could do.

Impressionen unter Wasser is, notably, devoid of any narrative structure. What drives the film is its mesmerizing spectacle, its stunning depiction of the underwater world, where aquatic life forms are brought into vivid focus. Riefenstahl immerses the viewer in the watery depths, showcasing the vibrant colors, unexpected patterns, and high-tension choreography of undersea existence.

The movie highlights a careful balance between the minute and the massive, the fragile and the formidable. As an audience, you navigate through this movie, just as one might navigate these depths in reality, with a sense of wonderment, curiosity, and a keen sense of discovery. Riefenstahl's cinematic lens brings you face-to-face with psychedelic corals, undulating jellyfish, intimidating sharks, and countless varieties of fish, all in their natural habitat.

Riefenstahl's camera is not merely a passive observer but actively participates in the aquatic tapestry – following the curvature of a coral, mimicking the balletic movements of a school of fish, observing as a curious shark circles. There’s a clear emotional connection that’s been built between the viewer and this alien world, and what enables this is the filmmaker’s deep sense of fascination and respect for the underwater life that becomes evident as one progresses through the film.

As one would expect from a veteran filmmaker like Riefenstahl, the technical execution of this film is commendable, utilizing whatever filmmaking technologies were available in 2002 to their fullest potential. The underwater cinematography with high-quality film stock yields stunning results, making every frame of Impressionen unter Wasser a painting-like work of art. The color saturation is lush and vibrant, making the film a visual treat of shifting hues of blues, greens, oranges, and reds. The crisp photography throws light on the intricate details of the underwater flora and fauna, making the audience appreciate the beauty and also the harsh realities of the oceanic world.

Complementing the awe-inspiring visuals is an evocative soundtrack that mirrors the ebb and flow of the film's underwater journey. The film lacks any dialogue but utilizes sound and music, not just as aesthetic elements, but as narrative tools that amplify the impact of the visual spectacle.

Despite its lack of conventional story arcs or characters, the film is deeply engaging, speaking a universal language of visuals and sound. It becomes a meditative experience, providing a non-human-centric lens to experience and reflect upon the mysteries of the natural world.

Impressionen unter Wasser is a visually intoxicating and technically accomplished piece of cinema that mirrors Riefenstahl's transition from her politically charged past to a more introspective explorer of the natural world. It undoubtedly carries her distinctive artistic mark, combining her technical prowess with a newfound sense of peace and purpose. An underseen gem in the realm of nature-focused documentaries, it is an optimistic testament to Riefenstahl's indefatigable spirit and showcases a filmmaker still pushing the boundaries of her craft in her centenarian years.