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This film is in memory of Katja and Maurice Kraft,

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volcanologists from the Alsace region in France.

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Almost everything that we are going to see is footage shot by them.

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There is something so awe-inspiring in it, so never seen before,

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that attracted me as a filmmaker.

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They lost their lives together, capturing the might of volcanoes.

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This is their legacy.

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The lives and the death of Katja and Maurice are documented in films and books

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and this year is not meant to be another extensive biography.

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What I am trying to do here is to celebrate the wonder of their imagery.

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This here is Katja Kraft at a volcano in Iceland.

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This here is Katja Kraft at a volcano in Iceland.

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And this is her husband Maurice.

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His ron estate was intended for Arat Teddy from St. Paul and Ivan

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in the Ancient of器 from St. Paul Rudd.

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Elsa's Eastern France.

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Both were born in villages not far apart of each other, surrounded by vineyards with

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a deep tradition of unchanged peasant life.

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They were roaming the entire globe in pursuit of erupting volcanoes, but they would always

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return to the quiet landscape of their origin.

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Katja studied Geochemistry at Strasbourg University with a goal to become a volcanologist.

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Shortly later, at the same university, Maurice began his studies in geology.

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The bug of volcanoes had been in him since he was seven when his parents took him to the

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Italian volcano Stromboli.

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Katja and Maurice met in Strasbourg in 1966 and never left each other ever after.

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This is the place of their death, the southern island of Kyushu in Japan, right in the middle

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of the volcano Mount Unzen.

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May 30th, 1991.

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The crafts arrived there on that day.

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The mountain had shown signs of a serious impending eruption.

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When they arrived near the volcano in a rented car, a friend and colleague, Harry Glicken,

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is with them.

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Japanese reporters, photographers and TV crews are already there.

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This is the established viewing point for the media.

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Authorities have declared an evacuation advisory area some four kilometers distant from the crater.

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It's delineation and the movements of the crafts would later lead to lasting controversies.

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They were blamed for luring cameramen and journalists into a dangerous position.

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But these positions were taken days before the crafts arrived.

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Here, they make a first assessment of the situation.

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Small, so-called pyroclastic flows have occurred recently.

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The newspapers have reported about the pyroclastic flows, highly dangerous clouds of superheated

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particles and gases.

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Maurice is setting up his camera.

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He still shoots 16-millimeter celluloid.

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The local TV crew now captures Katja, who is setting up the tripod for her photo camera.

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Maurice has problems with the battery of his zoom.

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The mountain is quiet, nothing worth shooting right now.

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Katja, Maurice and Glicken seem to be at ease.

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The Japanese media people are also oblivious of the impending doom.

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Whoever stayed here at this outpost, cameramen, reporters and taxi drivers would be dead in a few days.

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Helicopters can be heard in the distance.

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They monitor the crater.

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Police is also present, maintaining the exclusion zone.

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Now, something important is coming.

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And if we stay on the top of this hill, it's possible about it.

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Maurice just hinted at moving their position onto a hill closer to the volcano.

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Apparently, this idea is taking root right now.

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If there is a road going there, Katja agrees.

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If you have a road, it's okay.

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And here, suddenly a small pyroclastic flow that will stop in the distance.

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And then, because you have these pyroclastic flows coming down.

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And there is a lot to understand, to take pictures and then to study the pictures.

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And also, we like very much to come in Japan because you have very good observatories.

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And very good volcanologists.

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So, we can learn a lot with them.

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At last, you can meet your planned pyroclastic flow.

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But that was very small one.

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Very small, yes. Very small.

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I hope to see bigger ones than this one.

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Because this is very small, really, yes.

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This is one of the smallest pyroclastic flows I have seen in my life.

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Well, yesterday's pyroclastic flow is very, very big one.

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And that is the biggest one.

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The cloud covers full of mountains.

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Oh, yes.

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I would like to see this kind of thing.

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Bigger, yes.

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Sure.

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Mm-hmm.

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But probably, a whole part of the dome collapsed at this moment.

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So, maybe it will need some, some hours of our days to make a new dome that may collapse,

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a part of the dome.

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Sure.

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This is exactly what would happen a few days later on June 3rd, the day they would perish.

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We hope always, but we cannot be sure and we don't know nothing.

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You have big blocks on the top and they have to, to come down, but when?

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We know that Katja had much deeper concerns about the dangers than she would admit on camera.

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In fact, there was a crisis in their relationship because Katja wanted to leave for the Philippines,

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where the volcano Pinatubo was about to erupt.

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Maurice insisted he would stay no matter what and Katja stayed with him.

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I have seen so much eruptions in 23 years that even if I die tomorrow, I don't care.

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The crafts had a few narrow escapes in their lives.

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It was sheer luck.

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In 1983, they chartered a boat to approach Una Una volcano in Indonesia.

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The volcano had erupted, leaving destruction on this small island.

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It does not look good.

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Despite all science, volcanoes are still unpredictable.

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But Katja ventures out exploring, Maurice following her with his camera.

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Who Nixon writes the sea?

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This is in 1996.

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Don't kill you.

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He really looks good.

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Don't unlearn you.

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Don't kill you.

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Remember?

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Don't kill you.

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Don't kill me.

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He really looks good.

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Don't give me wind.

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Don't throw you out.

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Weеня gotta go in.

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Bye.

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Bye.

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Bey, blessings Specter.

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Satsang with Mooji

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Satsang with Mooji

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Satsang with Mooji

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Satsang with Mooji

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Satsang with Mooji

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Satsang with Mooji

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Seeing Katja here taking her time and Maurice clearly still filming from the shore, we feel like hurrying them up.

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They made it to safety.

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There was no danger for them anymore.

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And then this, the entire island exploded.

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Later Katja writes in her diary, we would have been cooked in a second.

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Three years later, 1986, the crafts were lucky again.

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A helicopter took them to the volcano St. Augustine in Alaska.

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A helicopter took them to the volcano St. Augustine in Alaska.

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And this is a helicopter.

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And this is a helicopter.

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And this is a helicopter.

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And this is a helicopter.

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And this is a helicopter.

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Before the boat turned on.

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It's a helicopter.

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It was thôi�ine in Rasenina in Alaska.

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And this is a helicopter.

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Just a helicopter.

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And this helicopter.

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And this helicopter.

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We couldn't see it all.

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The little limit to all.

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When both were near the crater itself, a massive explosion released a gigantic pyroclastic flow.

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Inside the cloud, temperatures can reach way over 1000 degrees Fahrenheit

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and the cloud can travel its speeds up to 400 miles an hour.

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The strange thing is that what's coming at you is silent.

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The pyroclastic flow comes within about 100 feet of the camera but Maurice does not flee.

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He calmly keeps it in frame until he runs out of film.

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And Katja, who took this picture, doesn't flee either.

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It was a long way for the crafts to become the figures in their later films.

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This here is Iceland 1968.

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They did not do camera work themselves.

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All the early footage was shot by Roland Haas, who had formed a company with Maurice.

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Katja's and Maurice's roles were not defined yet.

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Maurice, still boyish, looks uncomfortable on camera.

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Katja appears to be aimless, just embellishing a shot.

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Most of the time, she disappears quickly.

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1970, they were on the Italian island of Vulcano.

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The crater is inactive, except for some escaping steam.

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The film looks like home movies made by tourists.

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Everything is unspectacular.

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Their means of transportation are as primitive as it gets.

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What is interesting is that we see them doing scientific measurements.

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Maurice, monitoring seismic activities.

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And Katja, measuring chemical compositions of gases.

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And here for the first time, we see Maurice doing something for the camera, yet to no avail.

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Volcanoes have a natural attraction.

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Tourists are climbing up the crater as well.

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A bold young lady makes it all the way up to the rim in high heels and bikini.

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We see them now arriving in their base camp at the bottom.

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Their life is documented as if they were tourists.

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The focus is on jam, bread and Italian sausage.

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The focus is on jam, bread and Italian sausage.

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Two years later, there is a shift.

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Two years later, there is a shift.

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Now, on the Italian volcano at the volcano at the bottom.

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They are now arriving in their base camp at the bottom.

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Their life is documented as if they were tourists.

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They come up with something that looks like out of a carnival.

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They brought along specially made helmets.

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Rather grotesque.

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They brought along specially made helmets, rather grotesque.

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The idea behind it was protection.

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against chunks.

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of flying in their base camp at the bottom.

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They are now arriving in their base camp at the bottom.

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They are now arriving in their base camp at the bottom.

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Two years later, there is a shift.

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Now, on the Italian volcano Stromboli, they come up with something that looks like out of

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a carnival.

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They brought along specially made helmets, rather grotesque.

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The idea behind it was protection against chunks of flying rocks.

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And now they stage it, fake it for the camera, they shoot several takes.

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Watch the guy in the background, I love his fake acting.

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Katja seems to be embarrassed, unconvinced.

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These helmets make your movements clumsy.

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No serious volcanologist ever used them and the crafts abandoned the idea quickly.

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Soon the crafts were able to attract sponsors.

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They made an extensive expedition to Indonesia with a van and two smaller vehicles, all supported

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by the city of Mulhouse in Alsace.

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Maurice began a phase where he styled himself after the world-renowned underwater filmmaker

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Jacques Cousteau, wearing his trademark red woolen cap and smoking a pipe.

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The crafts apparently found it cool to use pathetic looking inflatable seats.

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Katja's role on camera was still diminished.

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Frequently she would be used for scale.

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Here in Yosemite she is hit by some drops of hot water.

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For the camera, they've repeated several times all fake.

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the

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Increasingly, they became filmmakers.

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From now on, we rarely ever see them doing science.

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They film others doing science.

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Katja becomes a sound recordist using state-of-the-art microphones in tape recorders.

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She also takes the role of photographer.

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Her pictures were published in magazines and a book.

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More than 400,000 pictures of hers are in the archive, enough to fill several more volumes.

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And here, like out of a fog, Maurice's real persona seems to emerge.

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The mask comes off, his face raw, grown-up, just him.

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And at the same time, as if out of nowhere, the images become grandiose.

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A great filmmaker is born.

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This is Iceland 1973.

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The small southern island of Heimei was surprised by a trench opening and spewing red-hot lava.

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Maurice captures here an apocalypse that we have never seen before on film.

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YouTuber ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ ρ

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¶¶

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ORCHESTRA PLAYS

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When looking at Maurice, right at the eruption, it seems that this is more than just a volcanic event.

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A fire within has taken hold of him.

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And it is certainly the same with Katja.

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She clearly expressed it in an interview.

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I cannot live without volcanoes.

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ORCHESTRA PLAYS

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ORCHESTRA PLAYS

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ORCHESTRA PLAYS

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ORCHESTRA PLAYS

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ORCHESTRA PLAYS

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ORCHESTRA CONTINUES

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ORCHESTRA CONTINUES

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ORCHESTRA CONTINUES

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ORCHESTRA CONTINUES

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1980.

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Mount St. Helens in the state of Washington.

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In fact, this image was taken years before.

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The volcano still has its pointed peak covered in snow.

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A series of earthquakes and steam venting episodes beginning in March signaled a major event.

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seismic recordings went wild.

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Seismic recordings went wild.

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On May 18th at 8.32 in the morning a magnitude 5.1 earthquake occurred.

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This triggered the largest landslide in recorded history and an explosion.

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The horizontal blast accelerated to 670 miles per hour.

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within a radius of 8 miles everything was obliterated and up to a distance of 19 miles the shockwave flattened every single tree.

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Katja and Maurice, having acquired a reputation to be the earliest on a scene, this time came a few days late.

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Approaching the zone of destruction, everything looks normal. The forests are still standing.

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Then, 20 miles away from the volcano, first signs of devastation.

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The leavesganze

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believer

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Et-er...

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Maimaine

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Et-er...

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Et-er...

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I love you.

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I love you.

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I love you.

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I love you.

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The crafts increasingly are attracted to the magnificence and mystery of the inner earth flowing to the surface.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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I love you.

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There used to be a bridge here.

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These here are lucky survivors. Lucky because no one was warned.

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The volcano had given signals so strong that later a volcanologist said

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the volcano was screaming, I'm about to explode.

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After the eruption there was more than an hour time until the flood hit the town.

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It would have taken most of the inhabitants just 200 meters to reach higher ground.

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We have to imagine the water rose higher than the bulldozers.

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The level of the mud flow reached almost to the top of the building in the background

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and yet a safe elevation is right behind.

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Here we see the high bark of the mud flow.

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Days after the flood the soft mud was still treacherous.

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It was 15 feet deep and had swallowed up cattle and humans alike.

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To cross it required some ingenuity.

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Days after the転ก

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No one is zero information, the sheer damage to the gravel.

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I have to take over

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The 90s of the bog were iron and the hills of the sea.

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By the mouth was array of hills.

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Over the remains of Armero hovered the stench of carrion.

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There was silence.

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Here we can see cows that sank into the mud days ago.

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They are irretrievable.

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They will die here.

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And then human remains.

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In the magnitude of the tragedy, they were still left where they died.

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The crafts wanted to see the source of the disaster, the summit of Nevada del Ruiz, over

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17,000 feet high.

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This is where the flood had come down.

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The marks in the rock show the gigantic magnitude of the lahar.

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Peasants tried to reach cut-off villages that had suffered great loss of life as well.

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Bad visibility stopped Katja and Maurice from climbing higher.

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Turning away from the volcano, they focused their attention on the suffering of the survivors.

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And this marked a fundamental shift in their work.

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They were shocked by the failure to alert the local population.

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In order to raise awareness of the dangers of volcanoes, they were looking for media attention.

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And because of that, they increasingly became the daredevils.

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And parallel to that, their gaze became less scientific and more and more humanistic.

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.

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.

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The shift did not happen overnight, as can be seen in footage the crafts filmed in Indonesia the year before the tragedy of Armero.

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The volcanic eruption had obscured the sky.

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Day turned into night.

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These traffic scenes were shot at mid-day.

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It took hours until some light returned.

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Dust was everywhere.

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And a thought creeps up to me that we are watching a scenario of the future.

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Could this pollution happen without a volcano just caused by human behavior?

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.

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¶¶

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El Chichon in the south of Mexico.

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Every volcano the crafts filmed had its own heartbreak.

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Destruction, dust, and the agony of a land left and forsaken by God.

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Or, more banal, are we hearing a spaghetti western turned nightmare?

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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¶¶

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00:54:03,640 --> 00:54:04,640
¶¶

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¶¶

430
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¶¶

431
00:54:06,640 --> 00:54:23,860
Ya nada queda, no niego, fue mucho mi dolor, pero eso ya pasó, mejor ya nunca vuelvas.

432
00:54:23,860 --> 00:54:48,160
Solo espero que entiendas que un amor se debe de cuidar y no jugar con nadie, porque yo te daba mi querer y aún sin merecer no te dolió dejarme.

433
00:54:48,160 --> 00:55:10,920
Ahora vuelves buscando mi calor, diciendo que jamás lograste olvidarme, pero yo te aclaro de una vez, lo debes de entender, es demasiado tarde.

434
00:55:10,920 --> 00:55:22,480
Porque tú quisiste estar allá.

435
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Y luego, hay fotografías que crearon que no hay volcános en él.

436
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They followed their curiosity.

437
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They saw the world no one else had seen.

438
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They left behind a mosaic that is mysterious and stunningly original.

439
00:56:27,920 --> 00:56:47,680
Oh, oh, oh.

440
00:56:47,680 --> 00:57:17,660
Thank you.

441
00:57:17,680 --> 00:57:47,660
Thank you.

442
00:57:47,680 --> 00:58:17,660
Thank you.

443
00:58:17,680 --> 00:58:47,660
Thank you.

444
00:58:47,680 --> 00:59:17,660
Thank you.

445
00:59:17,680 --> 00:59:47,660
Thank you.

446
00:59:47,660 --> 01:00:17,640
Thank you.

447
01:00:17,660 --> 01:00:47,640
Thank you.

448
01:00:47,660 --> 01:01:17,640
Thank you.

449
01:01:17,660 --> 01:01:47,640
Thank you.

450
01:01:47,660 --> 01:02:17,640
Thank you.

451
01:02:17,660 --> 01:02:47,640
Thank you.

452
01:02:47,660 --> 01:03:17,640
Thank you.

453
01:03:17,660 --> 01:03:47,640
Thank you.

454
01:03:47,660 --> 01:04:17,640
Thank you.

455
01:04:17,660 --> 01:04:47,640
Thank you.

456
01:04:47,660 --> 01:05:17,640
Thank you.

457
01:05:17,660 --> 01:05:47,640
Thank you.

458
01:05:47,660 --> 01:06:17,640
Thank you.

459
01:06:17,660 --> 01:06:47,640
Thank you.

460
01:06:47,660 --> 01:07:17,660


461
01:07:17,660 --> 01:07:47,660


462
01:07:47,660 --> 01:08:17,640
Thank you.

463
01:08:17,640 --> 01:08:47,640


464
01:08:47,640 --> 01:09:17,620
Thank you.

465
01:09:17,640 --> 01:09:47,620
Thank you.

466
01:09:47,640 --> 01:10:17,620
Thank you.

467
01:10:17,640 --> 01:10:47,620
Thank you.

468
01:10:47,640 --> 01:11:17,620
Thank you.

469
01:11:17,640 --> 01:11:47,620
Thank you.

470
01:11:47,640 --> 01:11:49,640
Thank you.

471
01:12:17,640 --> 01:12:47,620
Thank you.

472
01:12:47,620 --> 01:13:17,620


473
01:13:17,620 --> 01:13:47,620


474
01:13:47,620 --> 01:13:49,620
Thank you.

475
01:14:17,620 --> 01:14:47,600
The volcano,

476
01:14:47,600 --> 01:15:17,580
And now,

477
01:15:17,580 --> 01:15:24,580
Thank you.

478
01:15:47,580 --> 01:16:17,560
Thank you.

479
01:16:17,560 --> 01:16:47,540
Thank you.

480
01:16:47,560 --> 01:17:17,540
And rocks,

481
01:17:17,540 --> 01:17:47,520
Thank you.

482
01:17:47,520 --> 01:18:17,500
Thank you.

483
01:18:17,520 --> 01:18:47,500
Thank you.

484
01:18:47,500 --> 01:19:17,480
They order,

485
01:19:17,480 --> 01:19:47,460
Thank you.

486
01:19:47,460 --> 01:20:17,440
Thank you.

487
01:20:17,460 --> 01:20:47,440
Thank you.

488
01:20:47,460 --> 01:21:17,440
Thank you.

489
01:21:17,440 --> 01:21:47,420
Thank you.

490
01:21:47,420 --> 01:21:49,420
Thank you.

491
01:22:17,420 --> 01:22:47,400
They're back,

492
01:22:47,400 --> 01:23:17,380
Thank you.

493
01:23:17,380 --> 01:23:47,360
Thank you.

494
01:23:47,360 --> 01:24:17,340
Thank you.