Baraka is a 1992 non-narrative documentary film directed by Ron Fricke. The film is often compared to Koyaanisqatsi, the first of the Qatsi films by Godfrey Reggio for which Fricke was cinematographer. Baraka was the first film in over twenty years to be photographed in the 70mm Todd-AO format, and the first film ever to be restored and scanned at 8K resolution.

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Baraka is a documentary film with no narrative or voice-over. It explores themes via a kaleidoscopic compilation of natural events, life, human activities and technological phenomena shot in 24 countries on six continents over a 14-month period.
The film is Ron Fricke’s follow-up to Godfrey Reggio’s similar non-verbal documentary film Koyaanisqatsi. Fricke was cinematographer and collaborator on Reggio’s film, and for Baraka he struck out on his own to polish and expand the photographic techniques used on Koyaanisqatsi. Shot in 70mm, it includes a mixture of photographic styles including slow motion and time-lapse. To execute the film’s time-lapse sequences, Fricke had a special camera built that combined time-lapse photography with perfectly controlled movements.
Locations featured include the Church of the Holy Sepulchre in Jerusalem, the Ryoan temple in Kyoto, Lake Natron in Tanzania, burning oil fields in Kuwait, the smouldering precipice of an active volcano, a busy subway terminal, tribal celebrations of the Masai in Kenya, and chanting monks in the Dip Tse Chok Ling monastery.
The film features a number of long tracking shots through various settings, including Auschwitz and Tuol Sleng, over photos of the people involved, past skulls stacked in a room, to a spread of bones. It suggests a universal cultural perspective: a shot of an elaborate tattoo on a bathing Japanese yakuza precedes a view of tribal paint.
https://en.wikipedia.org/wiki/Baraka_(film)