- (Change the
direction and speed of the balloon with your cursor)
- by Gregory and
great Russian writer Lev Tolstoy, upon seeing the "new"
invention of motion pictures at the turn of the century, was
particularly excited by the fact that movement had been
captured and could be played over and over again. Tolstoy was
very interested in the concept of movement because he understood
the human being's need to move in order to grow. His idea of
movement, however, had a more profound edge to it. He perceived
that man was more than flesh and blood, that there was something
deep within us that was of a spiritual nature. (Here it must
be noted that the use of the word "spiritual" does
NOT mean religious. "Spiritual" relates solely to the
existence of the spirit-core deep within each human being. Religion
is a man-made institution, not related to the identity of the
spirit.) And so true movement is that which animates the
spiritual core, or, simply, the spirit of the human being. Seeking,
for example, is such a spiritual movement. It is
the spirit's striving to awaken (like the unhatched chick trying
to break through its shell) and to understand the meaning of
its existence, its purpose in life. We seek to feel alive and,
ultimately, to find a connection with the Source of All Life.
the surface, cinema appears to be the ideal medium for capturing
not only external, physical movement, but also internal, spiritual
movement. Cinema cannot possibly fulfill its potential unless
it succeeds on BOTH these levels. However, as the old
saying goes, the camera never lies, meaning that filmmaking
is like a spiritual sponge, whereby it soaks up and reveals whatever
is or isn't active within those who worked on the film,
particularly the director. With this in mind, a quick survey
of the history of cinema reveals an astonishingly accomplished
usage of film in capturing the physical dimension of life,
BUT a shockingly poor usage of film in capturing true
spiritual movement or experience, e.g. the director's
inward spiritual struggle, longing and striving.
There are a few directors, however, who do stand
out as exceptions in this regard. Perhaps, the foremost exponent
of a spiritually-motivated cinema is the late Russian director
Andrei Tarkovsky, who said: "I believe that to form a concept
of art you first have to face another more important question:
why does man exist? We must use our time on earth to improve
ourselves spiritually. This means that art must serve this purpose."
Each one of Tarkovsky's seven films reveals the spiritual intensity
of an earnest seeker of Truth. His film STALKER is a great
example of a cinematic Truth Quest. As this film reveals, seeking
the Truth is not for the faint-of-heart: it is difficult, frightening
and often treacherous, but it must be done. The introspective
gravity of the scene where the three main characters are first
entering the "Zone" on board a small rail cart perfectly
captures the profound seriousness of the great human quest for
spiritual knowledge. Tarkovsky's films show us that questioning,
probing, seriously examining are the film artist's (and every
human being's) most important tools.
Years ago, when we first experienced the yearning to make
a film, our sole concern was to seek a connection with the Creator.
As we took a closer look at the art, music and literature of
our time and compared them to the work of times past, we were
deeply shaken by the accelerating spiritual degeneration that
has been occuring. This degeneration is a profound one, reflecting
the dulling of all the senses caused by the inability of our
indolent spirits to awaken and take charge. And yet we remained
convinced that art still could and should bridge the gulf between
here and the beyond. So we studied the work of the Renaissance
masters and folk artists as well as the "visionary"
cinema of Andrei Tarkovsky, Sergei Paradjanov and a few others.
we tried to recreate their creative process (not technically
but spiritually), many days went by chronicling images obtained
through dreams or intuition...so that the actual creative process
was given over to the "guidance from above". It seemed
so simple: the artist was a mediator. The greater the purity
of artistic volition, the higher the guidance, the more remarkable
the images. The age-old debate of talent vs. education seemed
almost pointless in terms of what we were experiencing: we did
not know how to make a film and yet we were making a film. And
not just any kind of film, a different kind of film -
a pure record of deep inner experiencing with no words, just
music, sounds, images timelessly resonating within the familiar
constructs of celluloid, camera, projector.
And then the film was done. And eventhough we were
grateful for the experience of making it, we still had a void
within. During the creative process, we felt that we were connecting
to something greater than ourselves. But outside of the creative
act, we would lose that connection. What was the nature of that
connection then, we wondered, and why could we not maintain it
in our everyday lives? We were at a loss as to how to deal with
this profound sense of disconnection between our artistic experience
and our inner being. It was then that we began to see that art
was indeed limited. Art could not transform, it could only point.
Time and time again, we read in the personal biographies or confessions
of great and famous artists about their failure to overcome their
personal delusions and find the true way to the Light. It became
increasingly clear that if we did not want to live the rest of
our lives running inside the same wheel, we would have to seek
another way to connect with the Light. We needed knowledge. We
wanted to see the whole picture: the visible and the invisible
processes which govern our lives.
is the path of every earnest seeker. Part-knowledge, quick-and-easy
solutions, false teachings leading to self-satisfaction emerge
like creatures from the dense dark undergrowth to greet one at
every turn. But this is the swamp that now must be overcome by
many a serious seeker in order to get to the True Knowledge of
Creation. Like the knight on the quest for the Holy Grail, the
seeker will eventually come to an obstacle that seems insurmountable.
How one deals with this impass will make all the difference.
In a film we made several years ago, Return to Life, such
an event is depicted when the main character, seeing no way out,
holds a gun to his head. An extended sequence follows where he
is taken away from this impass and is shown a new life's course
devoted to beauty, if he chooses to continue his quest on earth.
He returns to the moment of decision, gives up his gun and proceeds
onwards with his new life.
the intense longing for true meaning in life, there lies a great
event waiting to happen for each genuine seeker. After many years
of looking for answers to life's unanswered questions, we finally
came across a source of Knowledge so powerful that the impass
in our own lives soon gave way to a breathtaking new beginning.
This special source is the book In
the Light of Truth: the Grail Message by Abd-ru-shin,
which contains a new and revolutionary Knowledge. Over the course
of a thousand pages, it unfolded before us the stupendous panorama
of the entire structure of Creation, disclosing the never-before-revealed
regions without which no picture of Creation can ever be complete.
It identified and described the Laws governing this Creation,
explaining their long-ranging effects upon every individual.
For the first time in the history of mankind, this book has revealed
the actual point of origin of all human beings. In short, through
its unparalleled depth of knowledge, this book has placed before
our vision the most wonderous Work of Art of all: this Creation!
We feel that this very special book, which has been translated
into 13 different languages from the original German, will become
the Guiding Light for all those all over the world, who long
for Truth and Beauty.