Godfrey Reggio closes his Qatsi trilogy, begun with Koyaanisqatsi and Powaqqatsi, with a film that has no dialogue and no narration, only Philip Glass's score and Yo-Yo Ma's cello carrying the images. The title comes from the Hopi language and translates roughly as "life as war" or "civilized violence," and the footage backs that up: newsreels, stock market tickers, missile tests, surgery, sports broadcasts, and computer-generated bodies, all digitally layered, slowed, or run backward until the source material is barely recognizable. Reggio builds the film almost entirely from repurposed archival and found footage rather than original photography, treating manipulation itself as the subject, since so much of contemporary life now arrives to us already processed through screens. Numbers, DNA strands, and combat footage recur as motifs, tying globalized technology to violence without ever stating the connection outright. There are no interviews, no captions, no argument spelled out in words. The film asks viewers to draw the link between digital abstraction and real-world consequence entirely through juxtaposition and Glass's insistent, cyclical music.