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Andy Goldsworthy's Rivers & Tides
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In Theaters : 2001
DVD Release : 28 September, 2004
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Andy Goldsworthy's Rivers & Tides description
Andy Goldsworthy's Rivers and Tides is a truly beautiful, Scottish-German 2001 documentary about artist Goldsworthy, a Scotsman whose medium is nature itself and whose preferred studio is the outdoors, particularly where water forever flows, rises, and/or retreats. The soft-spoken, secluded Goldsworthy is seen hard at work making ephemeral sculptures out of bits of ice in the trees, or building tall, mysterious cones from loose rock, which stand like spiritual sentinels in forests and on shorelines, overgrown by plants or swallowed daily by high tides. Filmmaker-cinematographer Thomas Reidelsheimer goes to great and sometimes inexplicable lengths to make visual corollaries to Goldsworthy's ideas about underappreciated relationships between light, color, movement, balance, and fluidity of form in the real world, making Rivers and Tides a lively and always surprising cinematic gallery. Some of Goldsworthy's most miraculous natural installations--stone walls that snake through hundreds of feet of forest and stream, for instance--show up in the last half-hour. --Tom Keogh
Andy Goldsworthy's Rivers & Tides Customer Reviews
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♥♥♥♥ Beautiful.
Rivers and Tides: Andy Goldsworthy Working with Time (Thomas Riedelsheimer, 2001)

Andy Goldsworthy takes the concept of the mandala to its absurd extreme; he makes huge sculptures of natural materials whose entire purpose is to be destroyed by the elements. Upon hearing this, you kind of have to ask yourself what kind of mutter would do such a thing. Thomas Riedelsheimer aims to show you.

Rivers and Tides has the rather interesting distinction of having won every award for which it was nominated (there were seven, if you're keeping count), and it's pretty easy to see why. Not only is Goldsworthy himself quite charismatic (and, yes, more than a bit eccentric, which can only help in a documentary), but Riedelsheimer is a fantastic camerman. There's never a situation where you feel Riedelsheimer is overtly tugging at you-- this may have something to do with the organic nature of the things he's filming-- but despite the (rather odd, for a documentary) feeling of straightforward camerawork, it's impossible to dismiss the beautifully composed nature of some of the images. Granted, this is a film about composition, and much of it can be attributed to Goldsworthy; Riedelsheimer is, after all, filming Goldsworthy much of the time during the process of creation. But, for example, Riedelsheimer's lingering shot of the ice snake sculpture towards the beginning of the film; it's obvious no one set up the sun. It's as if Riedelsheimer took a few steps back, two or three to the left, saw what was going on, and then snapped camera to shoulder and started filming.

A gorgeous piece of work, which deserves a whole lot more exposure than it's gotten. See it soon. ****
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