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The Fire Within A Requiem for Katia and Maurice Krafft (2022) [Full Movie] [Full Series]Full EP - Full
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Short filmTranscript
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.
00:11:37Frazen by Bury the
00:14:07Thirsty and starving seem to sense something.
00:14:15The goats look uneasy as well.
00:14:30And then there is a new eruption, menacing enough to make the crafts retreat.
00:14:35But they don't know what's coming very soon.
00:14:41Seeing Katja here taking her time and Maurice clearly still filming from the shore, we feel like hurrying them up.
00:15:25They made it to safety.
00:15:27There was no danger for them anymore.
00:15:31And then this.
00:15:32The entire island exploded.
00:15:36Later Katja writes in her diary, we would have been cooked in a second.
00:15:51Three years later, 1986, the crafts were lucky again.
00:15:57A helicopter took them to the volcano St. Augustine in Alaska.
00:16:03Here we go.
00:16:04Here we go.
00:16:07Here we go.
00:16:21Here we go.
00:16:33I don't know.
00:17:00When both were near the crater itself, a massive explosion released a gigantic pyroclastic flow.
00:17:09Inside the cloud, temperatures can reach way over thousand degrees Fahrenheit, and the cloud can travel its speeds up to
00:17:18400 miles an hour.
00:17:20The strange thing is that what's coming at you is silent.
00:17:32The pyroclastic flow comes within about 100 feet of the camera, but Maurice does not flee.
00:17:40He calmly keeps it in frame until he runs out of film.
00:17:46And Katja, who took this picture, doesn't flee either.
00:18:21It was a long way for the crafts to become the figures in their later films.
00:18:27This here is Iceland 1968.
00:18:31They did not do camera work themselves.
00:18:34All the early footage was shot by Roland Haas, who had formed a company with Maurice.
00:18:42Katja's and Maurice's roles were not defined yet.
00:18:47Maurice, still boyish, looks uncomfortable on camera.
00:18:53Katja appears to be aimless, just embellishing a shot.
00:18:59Most of the time, she disappears quickly.
00:19:091970, they were on the Italian island of Vulcano.
00:19:13The crater is inactive, except for some escaping steam.
00:19:21The film looks like home movies made by tourists.
00:19:26Everything is unspectacular.
00:19:33Their means of transportation are as primitive as it gets.
00:19:44What is interesting is that we see them doing scientific measurements.
00:19:50Maurice monitoring seismic activities and Katja measuring chemical compositions of gases.
00:20:12And here for the first time, we see Maurice doing something for the camera, yet to no avail.
00:20:44Volcanoes have a natural attraction.
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.
00:21:32Their 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.
00:22:26I love his fake acting.
00:22:32Katja seems to be embarrassed.
00:22:34Unconvinced.
00:22:41These helmets make your movements clumsy.
00:22:45No serious volcanologist ever used them, and the crafts abandoned the 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.
00:23:47Katja's role on camera was still diminished.
00:23:47Frequently, she would be used for scale.
00:23:50Here in Yosemite, she's hit by some drops of hot water.
00:23:57For the camera, they repeated several times, all fake.
00:24:01And then, we're going to lift the floor.
00:24:05There's a lot more.
00:24:07Oh, I'm not sure.
00:24:15Don't go down.
00:24:15I'm not sure.
00:24:17There's one.
00:24:17Don't go down.
00:24:19You can have a big deal of water.
00:24:21You can have a big deal of water.
00:24:22There's one.
00:24:22There's two.
00:24:22I'm not sure.
00:24:25There's one.
00:24:32Increasingly, 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.
00:25:16Her pictures were published in magazines and a book.
00:25:20More than 400,000 pictures of hers are in the archive, enough to fill several more volumes.
00:25:31And here, like out of a fog, Maurice's real persona seems to emerge.
00:25:38The mask comes off, his face raw, grown-up.
00:25:42Just him.
00:25:49And at the same time, as if out of nowhere, the images become grandiose.
00:25:57A great filmmaker is born.
00:26:01This is Iceland 1973.
00:26:05The small southern island of Heimei was surprised by a trench opening and spewing red-hot lava.
00:26:15Maurice captures here an apocalypse that we have never seen before on film.
00:26:30The small southern island of Heimei was a very old man.
00:26:34The small southern island of Heimei was a very old man.
00:26:45The small island of Heimei was a very old man.
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.
00:28:03And it is certainly the same with Katja.
00:28:08She clearly expressed it in an interview.
00:28:11I cannot live without volcanoes.
00:28:36I cannot live without volcanoes.
00:28:42I cannot live without volcanoes.
00:29:05I cannot live without volcanoes.
00:29:07I cannot live without volcanoes.
00:29:09I cannot live without volcanoes.
00:29:49I cannot live without volcanoes.
00:29:49I cannot live without volcanoes.
00:29:54ORCHESTRA PLAYS
00:30:291980. Mount St. Helens in the state of Washington. In fact, this image was taken years before. The volcano still
00:30:38has its pointed peak covered in snow.
00:30:41A series of earthquakes and steam venting episodes beginning in March signaled a major event. Seismic recordings went wild.
00:30:57On May 18th at 8.32 in the morning, a magnitude 5.1 earthquake occurred. This triggered the largest landslide
00:31:08in recorded history and an explosion. The horizontal blast accelerated to 670 miles per hour.
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.
00:31:52Katja and Maurice, approaching 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.
00:32:15It was over...
00:32:19And it's over...
00:32:25The logs Moto Eться
00:32:29In the points of Panama E kingdoms off the hill and the blanks left.
00:32:29Ta-da-da-da-da.
00:32:58Oh, my God.
00:33:04Jesus Christ, my love.
00:33:13Jesus Christ, my love.
00:34:30Mid-80s, Hawaii.
00:34:33The crafts increasingly are attracted to the magnificence and mystery of the inner earth flowing to the surface.
00:34:42The crafts increasingly are attracted to the magnificence and mystery of the inner earth.
00:35:23They are no longer volcanologists.
00:35:27There are artists who carry us, the spectators, away in a realm of strange beauty.
00:35:33This is a vision that exists only in dreams.
00:35:37There is nothing more that should be said.
00:35:40We can only watch in awe.
00:35:43There is nothing more.
00:35:44There is nothing more.
00:36:13There is nothing more.
00:36:15There is nothing.
00:36:29There is nothing more.
00:36:31There is nothing more.
00:36:53ORGAN PLAYS
00:37:28There is a fascination about the beauty of volcanoes,
00:37:32but they have caused terrible disasters.
00:37:36This is the summit of Nevado del Ruiz in Colombia.
00:37:41Its peak was covered with glaciers and snow that had accumulated for decades.
00:37:48At 9.09 p.m. on November 13, 1985, an eruption occurred.
00:37:56It was only 3% of what was ejected from Mount St. Helens.
00:38:02But the glowing lava and pyroclastic flows melted the ice almost instantly.
00:38:10The white summit turned dark.
00:38:13This was filmed by the crafts a few days after the event.
00:38:19And this is the flank of the mountain where the water and mud came down, growing larger and larger.
00:38:27So-called lahars formed.
00:38:35What we see here was filmed by the crafts seers earlier in the Alps of Italy.
00:38:41It is completely unrelated to Nevado del Ruiz.
00:38:45But we can get an idea what came down in Colombia.
00:38:52Water, eroded soil and dislodged rocks came sweeping down.
00:38:59However, the lahar in Colombia was 100 feet deep.
00:39:30It took more than an hour until it reached the town of Armin.
00:39:34Armino, some 30 miles away.
00:39:37By then, the huge stream had widened to a kilometer, sweeping through the town.
00:39:46Out of 29,000 inhabitants, over 20,000 of them perished.
00:39:56Only a few buildings on higher ground remained standing.
00:40:01This was the fourth deadliest disaster in recorded history.
00:40:09What we see here used to be the center of town.
00:40:15The power of the flood can be imagined by the size of boulders it carried along.
00:40:28There used to be a bridge here.
00:40:33These here are lucky survivors.
00:40:36Lucky because no one was warned.
00:40:39The volcano had given signals so strong that later a volcanologist said,
00:40:46The volcano was screaming,
00:40:48I'm about to explode.
00:40:52After the eruption, there was more than an hour time until the flood hit the town.
00:40:59It would have taken most of the inhabitants just 200 meters to reach higher ground.
00:41:06We have to imagine the water rose higher than the bulldozers.
00:41:12The level of the mudflow reached almost to the top of the building in the background.
00:41:17And yet a safe elevation is right behind.
00:41:23Here we see the high bark of the mudflow.
00:41:40Days after the flood, the soft mud was still treacherous.
00:41:45It was 15 feet deep and had swallowed up cattle and humans alike.
00:41:52To cross it required some ingenuity.
00:42:21It was 15 feet deep and it was 15 feet deep.
00:42:31Over the remains of Armero hovered the stench of carrion.
00:42:36There was silence.
00:42:51Here we can see cows that sank into the mud days ago.
00:42:56They are irretrievable.
00:42:58They will die here.
00:43:22And then, human remains.
00:43:26In 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 Ruiz, over 17,000 feet
00:44:03high.
00:44:05This is where the flood had come down.
00:44:14The 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.
00:44:42They were still in the middle of the river.
00:44:42Bad 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.
00:44:57And this marked a fundamental shift in their work.
00:45:01They 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.
00:45:13And because of that, they increasingly became the daredevils.
00:45:19And parallel to that, their gaze became less scientific and more and more humanistic.
00:45:25The
00:45:27The girl, you call me your game.
00:45:34The girl, you call me your game.
00:45:40The girl, you call me your game.
00:45:52The girl, you call me your game.
00:46:05The girl, you call me your game.
00:46:11The girl, you call me your game.
00:46:15The girl, you call me your game.
00:46:17The girl, you call me your game.
00:46:57The shift did not happen overnight, as can be seen in footage of the crafts filmed in Indonesia the year
00:47:06before the tragedy of Armero.
00:47:09A volcanic eruption had obscured the sky. Day turned into night.
00:47:18These traffic scenes were shot at midday.
00:47:23It took hours until some light returned.
00:47:28Dust was everywhere, and a thought creeps up to me that we are watching a scenario of the future.
00:47:37Could this pollution happen without a volcano, just caused by human behavior?
00:48:05Dustan Cruz
00:48:14Oh, dear, love, love, dear,
00:48:44love, dear, love, dear,
00:49:18love, dear, love, dear, love, dear,
00:49:35love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear,
00:49:46love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear,
00:49:46love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear,
00:49:46love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear,
00:49:48love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear, love, dear,
00:49:49love, dear, love, dear, love, dear, love, dear, love, dear, love, dear
00:50:15¶¶
00:50:53¶¶
00:51:23¶¶
00:51:35¶¶
00:51:37El Chichon in the south of Mexico.
00:51:41Every volcano the crafts filmed had its own heartbreak.
00:51:46Destruction, dust and the agony of a land left and forsaken by God.
00:51:53Or, more banal, are we hearing a spaghetti western turned nightmare?
00:52:00¶¶
00:52:01¶¶
00:52:01¶¶
00:52:01¶¶
00:52:03¶¶
00:52:04¶¶
00:52:12¶¶
00:52:14¶¶
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00:52:29¶¶
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00:52:31¶¶
00:52:39¶¶
00:52:40Lo siento, no podré volverme a enamorar
00:52:48De ti ya no es lo mismo
00:52:55Solo espero que entiendas que un amor
00:53:00Se debe de cuidar y no jugar con nadie
00:53:06Porque yo te daba mi querer
00:53:12Y aún sin merecer no te dolió dejarme
00:53:17Ahora vuelves buscando mi calor
00:53:23Diciendo que jamás lograste olvidarme
00:53:29Pero yo te aclaro de una vez
00:53:34Lo debes de entender
00:53:37Es demasiado tarde
00:53:58Yo te guardo rencor
00:54:03Pero tampoco amor
00:54:06De ti ya nada queda
00:54:09No niego fue mucho mi dolor
00:54:14Pero eso ya pasó
00:54:20Mejor ya nunca vuelvas
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
00:54:43Y aún sin merecer no te dolió dejarme
00:54:49Ahora vuelves buscando mi calor
00:54:54Diciendo que jamás lograste olvidarme
00:54:59Pero yo te aclaro de una vez
00:55:06Lo debes de entender
00:55:08Es demasiado tarde
00:55:14Porque tú quisiste estar allá
00:55:23No conocerte que jamás lograste
00:55:28No conocerte que jamás lograste
00:55:32No conocerte que jamás lograste
00:55:34Pero yo te aclaro de una vez
00:55:34Lo aclaro de una vez
00:55:42Yo te aclaro de una vez
00:55:51Y aún sin merecer no te dolió dejarme
00:55:53And then there is footage the crafts created that has no volcanoes in it.
00:55:59They followed their curiosity.
00:56:02They saw the world no one else had seen.
00:56:07They left behind a mosaic that is mysterious and stunningly original.
00:56:33But then there was a new place called the
00:56:41The ideal place is to go away from the world.
00:56:42The ideal place is to go away from the world.
00:56:43The ideal place is to go away from the world.
00:56:47I love the ideal place.
00:56:47I love the ideal place.
01:07:22is sheer hardship many of the viewers of this will probably be glad not to be there
01:07:30but i would give much if i could have been their companion
01:08:14this is what the mexicans would call pura
01:08:19vida life raw intense and pure life with meaning at its fullest we witness the travail of their
01:08:30voyages cars horses and we pray the horses will make it
01:08:50you
01:09:06me fuiste sin decirme los motivos
01:09:10y yo me preguntaba qué pasó el 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 pretendes que yo olvide los detalles que perdone todo
01:09:46y volvamos a empezar
01:09:49nadie sabe lo que tiene hasta que lo ve perdido
01:10:00nunca tú debiste decirlo
01:10:05nunca tú debiste decirlo
01:10:07pues creo que eran cosas de los dos
01:10:10nunca tú debiste decirlo
01:10:16pues mira
01:10:18ya aprendiste la lección
01:10:21no
01:10:23no
01:10:23no
01:10:24no
01:10:25no
01:10:32nunca
01:10:33nunca tú debiste decidirlo
01:10:37no
01:10:38no
01:10:38no
01:10:38no
01:10:40no
01:10:40no
01:10:40of the two, never you had to decide it, because look, you learned the lesson, no one knows
01:10:55what it has, until I have lost it, never you had to decide it, never you had to decide
01:11:10it, never you had to decide it, never you had to decide it, never you had to decide it
01:11:39because I think they were two things, never you had to decide it, because look, you learned
01:11:53the lesson, no one knows what it has, until I see it
01:12:04back in Japan, Mount Unsen, June 2, 1991, the situation is unchanged, no eruption, no big
01:12:15periclastic flow, the crafts in Harry Glicken are holding their position, musing about the
01:12:24small events at the volcano, maybe the events they talk about, you know, when they say
01:12:3120 periclastic flows per day, maybe they, because they see it because of the seismicity, so maybe
01:12:39they even count as small ones, very small ones, maybe they don't really see them, they're just small ones
01:12:43in the clouds up there.
01:12:53Harry Glicken decides to make better use of his time, he leaves the crafts with their cameras
01:12:59in order to study sediments in the river flowing from the volcano. His story is curious, he had
01:13:09unbelievable luck when Mount Saint Helens exploded some ten years prior. He held an observation
01:13:17outpost close to the volcano. After working six days straight, he had to leave for an interview
01:13:25with his university. His research advisor, despite safety concerns, volunteered to replace him
01:13:35at his post. This volunteer died in the cataclysm of that day. In the lottery of the universe,
01:13:44Harry Glicken this time would make his fatal move. He rejoined the crafts at their camera position
01:13:52and thus died with them. Up near the mountain boredom has taken hold. Many of the camera people
01:14:08are sleeping. The volcano, only partially visible, is just quiet.
01:14:22Later we will learn that even this position just outside the exclusion zone is not safe. The pyroclastic
01:14:33flow will wipe it out as well. Only some locals make it to safety.
01:14:50And now what we see appears to be from a new vantage point. The Japanese cameraman who shot this
01:14:59image probably has joined the crafts to move into an advanced position. It was their last. What remains of the
01:15:10crafts are their amazing images.
01:15:42And looking into their archive, we discover images, not only of volcanoes, but landscapes that nobody has ever filmed like
01:15:53them.
01:16:03Some of it has a quality of dreams. Like in a biblical apocalypse, stones are raining from the sky.
01:16:13Some of the tales are in the sky. Some of it is hailing the sea down in a river.
01:16:33Some of it has a quality of mankind. It is not supposed to be possible.
01:16:42Some of it has a quality of life or something. It is highly assumed to be able to
01:16:48And rocks are giving up their assigned nature just to solidly sit there.
01:16:55They tumble.
01:17:24And plants and creatures and our whole planet seem to be somewhere in outer space.
01:18:00And plants and creatures and our whole planet seem to be somewhere in outer space.
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.
01:19:03And while he flees, he still keeps filming.
01:19:32And only moments later, the end.
01:19:35Mount Unzen explodes.
01:19:39A gigantic pyroclastic flow comes rushing down.
01:19:43No one in its part will survive.
01:20:12CHOIR SINGS
01:20:36CHOIR SINGS
01:20:51The cameraman who fled reported that the crafts had been nearby.
01:20:58We thought we should revisit his footage.
01:21:02And here wasn't there something.
01:21:09Let's look at it again.
01:21:12Now zoom in.
01:21:14There is somebody.
01:21:15There are some figures.
01:21:18Could that be the crafts and Glecken?
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.
01:21:39There 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
01:22:14in the grave of Katya's family.
01:22:19They're back now in Elsass, their home.
01:22:23In their lives together they walked along a precipice.
01:22:31In their love they became one.
01:22:35This 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
01:23:15the world.
01:23:15And the very claws of the devil and that is why I wanted to make this film for them.
01:23:33This is why I wanted to make this film for you.
01:23:45This is why I wanted to make this film for you.
01:23:57This
01:23:58is why I wanted to make this film for years.
01:24:05It of
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