AQUARELA takes audiences on a deeply cinematic journey through the transformative beauty and raw power of water. Captured at a rare 96 frames-per. Lenses Aquarella. Somos una tienda en linea. Y ofrecemos principalmente, lentes de contactos de colores y sus accesorios. Watercolor, or Aquarella is a wonderful transparent and luminous artistic media. Watch as Aquarella transforms your image into one with liquid pools of color blended fluidly on paper to create a watercolor with all the delicate details found in a traditional watercolor media. Look closely as you render your aquamedia to discover light delicate “blooms” of wet color running throughout your. Solotica Aquarella contact lenses are popular all over the world particularly in the countries USA, UK, United Arab Emirates, also in Europe and in the Middle East. We offer worldwide shipping through FedEx courier and can deliver your Solotica Aquarella within 3-5 working days.

AQUARELA takes audiences on a deeply cinematic journey through the transformative beauty and raw power of water. A visceral wake-up call that humans are no match for the sheer force and capricious will of Earth’s most precious element. From the precarious frozen waters of Russia’s Lake Baikal to Miami in the throes of Hurricane Irma to Venezuela’s mighty Angel Falls, water is AQUARELA’s main character. Filmed at 96 frames-per-second, the film will be primarily shown in theaters at 48 frames-per-second, double the typical 24 frames-per-second, as projectors with the ability to project at 96-frames-per-second are extremely rare today, but when the time comes that the capacity is there, AQUARELA will be one of the first films to be shown at that speed.

No narrator will come to our rescue here. Without any expositional assistance, we are going to spend the next hour and twenty minutes and change watching—and hearing—the awesome implacable power of water.

For some time people disappear from the camera’s view. Icebergs fall off of glaciers and into water, and rise up again, the noise accompanying them rather like an earthquake.

Sometimes the camera will just sit between ocean and sky, or hover above churning, roiling water. The abstract patterns it creates are dizzying and terrifying.

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They get more terrifying when the sky turns gray. A sailing yacht is seen as a storm starts churning up. Two crew members turn wheels, climb masts, executing their moves with deliberation and trying to avoid haste. While knowing they need to work quickly. All this is conveyed without words.

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Some will recognize Miami as it is pummeled by Hurricane Irma. Here one of the courageous (and, one has to say, foolhardy) filmmakers ventures outside and runs up a boulevard, its traffic lights hanging by wires after being unmoored from their posts, palm trees getting their fronds ripped off by the brutal winds.

People turn up again, in what appears to be a flooding cave. Here the amazing imagery attains a level of terrifying abstractness.

This is a purely sensationalistic cinematic experience that paradoxically encourages reflection and contemplation. Although the use of some (admittedly pretty good) heavy metal music on the soundtrack feels like a bit of overreaching. The guitar riffs rhyme with the growth of a tidal wave to such an extent you’re almost waiting for a gravelly bass voice to announce “EXTREEEEEEEEME WEATHERRRRR!!!!” The genuine awesome on display here doesn’t need that cheese injection.