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The Fire Within A Requiem for Katia and Maurice Krafft (2022) [Full Movie] [Full Version]Full EP - Full
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00:00:23This film is in memory of Katja and Maurice Kraft.
00:00:28Volcanologists from the Alsace region in France.
00:00:34Almost everything that we are going to see is footage shot by them.
00:00:41There is something so awe-inspiring in it, so never seen before, that attracted me as a filmmaker.
00:00:50They lost their lives together, capturing the might of volcanoes.
00:00:55This is their legacy.
00:01:00The lives and the deaths of Katja and Maurice are documented in films and books,
00:01:06and this here is not meant to be another extensive biography.
00:01:12What I am trying to do here is to celebrate the wonder of their imagery.
00:01:39This here is Katja Kraft at a volcano in Iceland.
00:01:54And this is her husband, Maurice.
00:02:18This is Katja and Maurice.
00:02:20This is Katja and Maurice.
00:02:26This is Katja and Maurice.
00:02:33Elsa's Eastern France.
00:02:36Both were born in villages not far apart of each other,
00:02:41surrounded by vineyards with a deep tradition of unchanged peasant life.
00:02:48They were roaming the entire globe in pursuit of erupting volcanoes,
00:02:54but they would always return to the quiet landscape of their origin.
00:03:00Katja studied geochemistry at Strasbourg University with a goal to become a volcanologist.
00:03:08Shortly later, at the same university, Maurice began his studies in geology.
00:03:16The bug of volcanoes had been in him since he was seven when his parents took him to the Italian
00:03:23volcano Stromboli.
00:03:26Katja and Maurice met in Strasbourg in 1966 and never left each other ever after.
00:03:43This is the place of their death, the southern island of Kyushu in Japan, right in the middle of the
00:03:51volcano Mount Unzen.
00:03:54May 30th, 1991.
00:03:58The crafts arrived there on that day.
00:04:03The mountain had shown signs of a serious impending eruption.
00:04:10When they arrived near the volcano in a rented car, a friend and colleague, Harry Glicken, is with them.
00:04:20Japanese reporters, photographers, and TV crews are already there.
00:04:27This is the established viewing point for the media.
00:04:32Authorities have declared an evacuation advisory area some four kilometers distant from the crater.
00:04:39Its delineation and the movements of the crafts would later lead to lasting controversies.
00:04:48They were blamed for luring cameramen and journalists into a dangerous position.
00:04:54But these positions were taken days before the crafts arrived.
00:05:05Here, they make a first assessment of the situation.
00:05:10Small, so-called pyroclastic flows have occurred recently.
00:05:23The newspapers have reported about the pyroclastic flows, highly dangerous clouds of superheated particles and gases.
00:05:37Maurice is setting up his camera.
00:05:40He still shoots 16mm celluloid.
00:05:45The local TV crew now captures Katja, who is setting up the tripod for her photo camera.
00:06:12Maurice has problems with the battery of his zoom.
00:06:17The zoom doesn't work.
00:06:20I don't know why.
00:06:21I don't know why.
00:06:42The mountain is quiet.
00:06:45Nothing worth shooting right now.
00:06:48Katja, Maurice, and Glicken seem to be at ease.
00:06:53The Japanese media people are also oblivious of the impending doom.
00:07:03Whoever stayed here at this outpost, cameramen, reporters, and taxi drivers would be dead in a few days.
00:07:19Helicopters can be heard in the distance.
00:07:22They monitor the crater.
00:07:29Police is also present, maintaining the exclusion zone.
00:07:42Now, something important is coming.
00:07:46And if we stay on the top of this hill, it's possible about it.
00:07:50Maurice just hinted at moving their position onto a hill closer to the volcano.
00:07:58Apparently, this idea is taking root right now.
00:08:03If there is a road going there, Katja agrees.
00:08:07If you have a road, it's okay.
00:08:09And here, suddenly a small pyroclastic flow that will stop in the distance.
00:08:25And there is a lot to understand, to take pictures, and then to study the pictures.
00:08:31And also, we like very much to come in Japan because you have very good observatories and very good volcanologists.
00:08:39So we can learn a lot with them.
00:08:43At last, you can meet your friend, pyroclastic flow.
00:08:49But that was a very small one.
00:08:51Very small, yes.
00:08:52Very small.
00:08:53I hope you see bigger ones than this one.
00:08:55Because this is very small, really, yes.
00:08:58This is one of the smallest pyroclastic flow I have seen in my life.
00:09:06But yesterday's pyroclastic flow is very, very big one.
00:09:10And that is the biggest one.
00:09:13The cloud covers the full mountain.
00:09:17Oh, yes.
00:09:18Uh-huh.
00:09:18I would like to see this kind of thing, bigger, yes.
00:09:21Sure.
00:09:22But probably a whole part of the dome collapsed at this moment.
00:09:26So maybe it will need some hours or days to make a new dome that may collapse, part of the
00:09:37dome.
00:09:38Sure.
00:09:39This is exactly what would happen a few days later on June 3rd, the day they would perish.
00:09:47We hope always, but we cannot be sure and we don't know nothing.
00:09:52You have big blocks on the top and they have to come down, but when?
00:09:57We know that Katja had much deeper concerns about the dangers than she would admit on camera.
00:10:04In fact, there was a crisis in their relationship because Katja wanted to leave for the Philippines where the volcano
00:10:13Pinatubo was about to erupt.
00:10:16Maurice insisted he would stay no matter what and Katja stayed with him.
00:10:24I have seen so much eruptions in 23 years that even if I die tomorrow, I don't care.
00:10:39The crafts had a few narrow escapes in their lives.
00:10:43It was sheer luck.
00:10:45In 1983, they chartered a boat to approach Una Una volcano in Indonesia.
00:10:52The volcano had erupted, leaving destruction on this small island.
00:11:22It does not look good.
00:11:25Despite all science, volcanoes are still unpredictable.
00:11:31But Katja ventures out, exploring.
00:11:34Maurice following her with his camera.
00:11:37prepare.
00:11:38Patrick Ross
00:12:05In
00:12:06October
00:15:51Three years later, 1986, the crafts were lucky again.
00:15:57A helicopter took them to the volcano St. Augustine in Alaska.
00:20:12And here,
00:20:13And here,
00:20:13And here for the first time, we see Maurice doing something for the camera, yet to no avail.
00:20:22And here he is.
00:20:25And here, которого we are, is a space for a long story.
00:20:47Tourists are climbing up the crater as well.
00:21:04A bold young lady makes it all the way up to the rim in high heels and bikini.
00:21:28We see them now arriving in their base camp at the bottom.
00:21:33Their life is documented as if they were tourists.
00:21:38The focus is on jam, bread and Italian sausage.
00:21:54Two years later, there is a shift.
00:21:57Now, on the Italian volcano Stromboli, they come up with something that looks like out of a carnival.
00:22:05They brought along specially made helmets, rather grotesque.
00:22:10The idea behind it was protection against chunks of flying rocks.
00:22:17And now, they stage it, fake it for the camera.
00:22:21They shoot several takes.
00:22:24Watch the guy in the background.
00:22:25I love his fake acting.
00:22:32Katja seems to be embarrassed, unconvinced.
00:22:41These helmets make your movements clumsy.
00:22:45No serious volcanologist ever used them, and the crafts abandoned their idea quickly.
00:22:57Soon, the crafts were able to attract sponsors.
00:23:01They made an extensive expedition to Indonesia with a van and two smaller vehicles, all supported by the city of
00:23:10Mulhouse in Alsas.
00:23:16Maurice began a phase where he styled himself after the world-renowned underwater filmmaker Jacques Cousteau, wearing his trademark red
00:23:26woolen cap and smoking a pipe.
00:23:33The crafts apparently found it cool to use pathetic looking inflatable seats.
00:23:44Katja's role on camera was still diminished.
00:23:47Frequently, she would be used for scale.
00:23:51Here in Yosemite, she is hit by some drops of hot water.
00:23:57For the camera, they've repeated several times, all fake.
00:24:12For the camera, they've repeated several times, all fake.
00:24:17And the glass top was still in the background.
00:24:19In fact, it was a low-end station with a radio driver and an operation.
00:24:33Increasingly, they became filmmakers.
00:24:35From now on, we rarely ever see them doing science.
00:24:40They film others doing science.
00:24:59Katja becomes a sound recordist using state-of-the-art microphones and tape recorders.
00:25:13She also takes the role of photographer. Her pictures were published in magazines and a book. More than 400,000
00:25:23pictures of hers are in the archive, enough to fill several more volumes.
00:25:30And here, like out of a fog, Maurice's real persona seems to emerge. The mask comes off. His face raw,
00:25:42grown up. Just him.
00:25:49And at the same time, as if out of nowhere, the images become grandiose. A great filmmaker is born.
00:26:01This is Iceland 1973. The small southern island of Heimei was surprised by a trench opening and spewing red-hot
00:26:12lava.
00:26:15Maurice captures here an apocalypse that we have never seen before on film.
00:26:30Wormsor!
00:26:32Turtle has become a
00:26:40In Bangor.
00:27:11I'll see you next time.
00:27:32ORCHESTRA PLAYS
00:27:51When looking at Maurice, right at the eruption, it seems that this is more than just a volcanic event.
00:27:59A fire within has taken hold of him.
00:28:04And it is certainly the same with Katja.
00:28:08She clearly expressed it in an interview.
00:28:11I cannot live without volcanoes.
00:28:29I cannot live without volcanoes.
00:29:01CHOIR SINGS
00:29:33CHOIR SINGS
00:30:03CHOIR SINGS
00:30:45CHOIR SINGS
00:30:45CHOIR SINGS
00:30:46CHOIR SINGS
00:30:50CHOIR SINGS
00:30:52CHOIR SINGS
00:30:53CHOIR SINGS
00:31:20CHOIR SINGS
00:31:20Within a radius of 8 miles, everything was obliterated, and up to a distance of 19 miles, the shockwave flattened
00:31:30every single tree.
00:31:40Katja and Maurice, having acquired a reputation to be the earliest on a scene, this time came a few days
00:31:48late.
00:31:52Approaching the zone of destruction, everything looks normal, the forests are still standing.
00:32:03Then, 20 miles away from the volcano, first signs of devastation.
00:32:19ChOIR SINGS
00:32:23ChOIR SINGS
00:32:36CHOIR SINGS
00:32:51CHOIR SINGS
00:33:05CHOIR SINGS
00:33:05CHOIR SINGS
00:33:05CHOIR SINGS
00:33:36CHOIR SINGS
00:33:36CHOIR SINGS
00:34:29Mid-80s, Hawaii.
00:34:32The crafts increasingly are attracted to the magnificence and mystery of the inner earth flowing to the surface.
00:35:42Watch in awe.
00:43:22And then, human remains.
00:43:25In the magnitude of the tragedy, they were still left where they died.
00:43:54The crafts wanted to see the source of the disaster, the summit of Nevada del
00:44:00Ruiz, over 17,000 feet high. This is where the flood had come down.
00:44:13The marks in the rock show the gigantic magnitude of the lahar.
00:44:31Peasants tried to reach cut-off villages that had suffered great loss of life as well.
00:44:41Bad visibility stopped Katja and Maurice from climbing higher.
00:44:49Turning away from the volcano, they focused their attention on the suffering of the survivors.
00:44:56And this marked a fundamental shift in their work. They were shocked by the failure to alert the local population.
00:45:06In order to raise awareness of the dangers of volcanoes, they were looking for media attention and because of that,
00:45:15they increasingly became the daredevils.
00:45:18In parallel to that, their gaze became less scientific and more and more humanistic.
00:45:25In parallel to that, their lives were so humanistic.
00:45:26In parallel to that, their lives were so humanistic.
00:46:12In parallel to the
00:46:57The shift did not happen overnight, as can be seen in footage the crafts filmed in Indonesia
00:47:05the year before the tragedy of Armero.
00:47:09A volcanic eruption had obscured the sky.
00:47:14Day turned into night.
00:47:19These traffic scenes were shot at mid-day.
00:47:23It took hours until some light returned.
00:47:29Dust was everywhere, and a thought creeps up to me that we are watching a scenario of
00:47:36the future.
00:47:38Could this pollution happen without a volcano just caused by human behavior?
00:48:04You're the same, you're the same, you're the same.
00:48:21La de Molde
00:48:45Oh, oh, oh, oh, oh, oh, oh.
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00:51:38In the south of Mexico.
00:51:40Every volcano the crafts filmed had its own heartbreak.
00:51:47Destruction, dust, and the agony of a land left and forsaken by God.
00:51:53Or, more banal, are we here in a spaghetti western turned nightmare?
00:51:59You wanted to be there, you said that perhaps it would be your destiny.
00:52:11After everything failed you, today you want to come back and be happy with me.
00:52:27But you, don't you think that my love has always forgotten you?
00:52:35And you demand my love?
00:52:39Really, I'm sorry, I'm not going back to me.
00:52:49I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry.
00:52:55I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry.
00:53:13I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry.
00:53:34I'm sorry, I'm sorry, I'm sorry, I'm sorry.
00:53:59I'm sorry, I'm sorry, I'm sorry.
00:54:09I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry.
00:54:15But that already happened, mejor ya no vuelva.
00:54:26Solo espero que entiendas que un amor
00:54:31Se debe de cuidar y no jugar con nadie
00:54:37Porque yo te daba mi querer
00:54:42Y aún sin merecer no te dolió dejarme
00:54:48Ahora vuelves buscando mi calor
00:54:54Diciendo que jamás lograste olvidarme
00:55:00Pero yo te aclaro de una vez
00:55:06Lo debes de entender
00:55:08Es demasiado tarde
00:55:14Porque tú quisiste estar allá
00:55:23Porque tú quisiste estar allá
00:55:28Porque tú quisiste estar allá
00:55:53Y luego, hay fotos que los craftsos crearon
00:55:57Que tiene no volcanos en él
00:55:59Y seguÃan su curiosidad
00:56:02Y veÃan un mundo que nadie más habÃa visto
00:56:07Y dejaron un mosaico
00:56:10Que es misterioso y increÃblemente original
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01:07:17A good part of what we discover
01:07:19in the Archive of the Crafts
01:07:21is sheer hardship
01:07:24Many of the viewers of this
01:07:26will probably be glad
01:07:28not to be there
01:07:29but I would give much
01:07:32if I could have been their companion
01:07:34Te fuiste sin siquiera despedirte, pensaste ya después me buscarás, pues mira, te fallaron tus deseos, y al final de
01:07:51cuentas fuiste tú quien me extrañó.
01:07:58Me niegas por orgullo a tus amigos, y bajas la mirada por temor, les mientes al decir que me olvidaste,
01:08:13pues nunca imaginaste.
01:08:15This is what the Mexicans would call Pura Vida, life raw, intense, and pure, life with meaning at its fullest.
01:08:28We witness a travail of their voyages, cars, horses, and we pray the horses will make it.
01:08:45Pues mira, ya aprendiste la lección.
01:09:05Te fuiste sin decirme los motivos, y yo me preguntaba qué pasó.
01:09:15El tiempo se te fue pasando, y ahora tú me dices que quieres regresar.
01:09:29Y vienes a contarme tu tristeza, y quieres aclarar la situación.
01:09:39Pretendes que yo olvide los detalles, que perdone todo, y volvamos a empezar.
01:09:50Nadie sabe lo que tiene, hasta que lo ve perdido, nunca tú debiste decidirlo.
01:10:05Pues creo que eran cosas de los dos, nunca tú debiste decidirlo.
01:10:16Pues mira, ya aprendiste la lección.
01:10:32Nunca tú debiste decidirlo.
01:10:37Nunca tú debiste decidirlo, pues creo que eran cosas de los dos.
01:10:41Nunca tú debiste decidirlo.
01:10:47Pues mira que aprendiste la lección
01:10:52Nadie sabe lo que tiene
01:10:57Hasta que lo ve perdido
01:11:02Nunca tú debiste decidirlo
01:11:08Pues creo que eran cosas de los dos
01:11:12Nunca tú debiste decidirlo
01:11:18Pues mira que aprendiste la lección
01:11:35Nunca tú debiste decidirlo
01:11:39Pues creo que eran cosas de los dos
01:11:45Nunca tú debiste decidirlo
01:11:50Pues mira que aprendiste la lección
01:11:56Nadie sabe lo que tiene
01:12:01Hasta que lo ve perdido
01:12:04Back in Japan, Mount Unzen, June 2, 1991
01:12:09The situation is unchanged
01:12:12No eruption
01:12:13No big periclastic flow
01:12:16No choice
01:12:18The crafts in Harry Klicken
01:12:21Are holding their position
01:12:22Musing about the small events
01:12:24At the volcano
01:12:27Maybe the events they talk about
01:12:30You know when they say
01:12:3120 power plastic flows per day
01:12:34Maybe they
01:12:35Because they see it
01:12:36Because of the seismicity
01:12:38So maybe they even count the small ones
01:12:40Very small ones
01:12:41Maybe they don't really see them
01:12:42They're just small ones
01:12:53Why just...
01:12:53Harry Klicken decides to make better use of his time
01:12:56He leaves the crafts with their cameras
01:12:59In order to study sediments
01:13:01In the river flowing from the volcano
01:13:06His story is curious
01:13:08He had unbelievable luck
01:13:10When Mount St. Helens exploded
01:13:13Some ten years prior
01:13:15He held an observation outpost
01:13:18Close to the volcano
01:13:20After working six days straight
01:13:23He had to leave for an interview
01:13:25With his university
01:13:28His research advisor
01:13:30Despite safety concerns
01:13:32Volunteered to replace him at his post
01:13:35This volunteer died in the cataclysm
01:13:41In the lottery of the universe
01:13:44Harry Klicken
01:13:45This time would make his fatal move
01:13:49He rejoined the crafts at their camera position
01:13:52And thus died with them
01:14:02Up near the mountain
01:14:04Boredom has taken hold
01:14:05Many of the camera people are sleeping
01:14:17The volcano
01:14:19Only partially visible
01:14:20Is just quiet
01:14:22Later we will learn
01:14:25That even this position
01:14:27Just outside the exclusion zone
01:14:29Is not safe
01:14:31The pyroclastic flow
01:14:33Will wipe it out as well
01:14:40Only some locals make it to safety
01:14:43Only some locals make it to safety
01:14:43Only some locals make it to safety
01:14:50And now what we see
01:14:52Appears to be from a new vantage point
01:14:55The Japanese cameraman
01:14:57Who shot this image
01:14:59Probably has joined the crafts
01:15:02To move into an advanced position
01:15:04It was their last
01:15:08What remains of the crafts
01:15:11Are their amazing images
01:15:13That Elizabeth
01:15:19Is
01:15:19A
01:15:19Oh
01:15:41FROM
01:15:43into their archive we discover images not only of volcanoes but landscapes that
01:15:51nobody has ever filmed like them some of it has a quality of dreams like in a
01:16:08biblical apocalypse stones are raining from the sky
01:16:48and rocks are giving up their assigned nature just to solidly sit there they tumble
01:17:24and plants
01:17:26and creatures and our whole planet seem to be somewhere in outer space
01:17:41so
01:17:43so
01:17:52so
01:18:01so
01:18:06so
01:18:12so
01:18:14so
01:18:15so
01:18:15so
01:18:17so
01:18:18so
01:18:27minutes away from the catastrophe Mount Unzen has released a massive pyroclastic flow
01:18:38we have the radio contact of our Japanese cameraman with his base
01:18:47they order him to evacuate at once
01:18:51he's afraid but still takes a time to wipe his lens
01:19:01only now he flees and while he flees he still keeps filming
01:19:32and only moments later the end
01:19:35Mount Unzen explodes a gigantic pyroclastic flow comes rushing down
01:19:42no one in its part will survive
01:19:46not only once
01:19:46but only once
01:19:46and once
01:19:50the end is alive
01:20:44SONG ENGLAND
01:20:51The cameraman who fled reported that the crafts had been nearby.
01:20:58We thought we should revisit his footage.
01:21:03And here wasn't there something.
01:21:08Let's look at it again.
01:21:12Now zoom in.
01:21:13There is somebody, there are some figures, could that be the crafts in Glicken?
01:21:21The probability is high.
01:21:24Does this here capture the very last moment of the crafts?
01:21:30We do know from the position their bodies were found, they were the closest to the volcano.
01:21:38There were survivors, but only those who were barely touched by the edges of the flow.
01:22:06The remains of Katya and Maurice were cremated in Japan and their ashes are buried here together in the grave.
01:22:15Of Katya's family.
01:22:19They're back now in Elsus.
01:22:21They're home.
01:22:23In their lives together, they walked along a precipice.
01:22:32In their love, they became one.
01:22:34This shot was made by Maurice, walking with the camera, the abyss too close.
01:22:42Katya must have held him so he wouldn't fall.
01:23:05Because of this unity and this togetherness, they were able to descend into the inferno and wrestle an image from
01:23:15God.
01:23:15They were the very claws of the very claws of the devil and that is why I wanted to make
01:23:20this film for them.
01:23:41It was in my life.
01:24:20You
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