John Harold Giraldo Herrera *
The Wayuu are the children of the wind and spring. They are a nation with more than six hundred thousand members and the first indigenous force in Colombia. Their cosmogony has a strong relationship with the territory, their ideas about the world, they have enabled them to build an identity and a set of principles, in which the woman retains the lineage (a kind of matriarchy) with a dominant role. The Putchipu is the architect and at the same time the backbone of the community: they bring and speak, such as the unfolding of the wind and the sea. This fundamental basis, relying on what is being said, has enabled them to survive after centuries as a culture of dialogue.
Although the story must tell that there are also (and there are) many wars between them, their families and clans. However, they are held to believe in the palabrero, so much so that it is considered a heritage of mankind and their examples of peace / peace have been transcended. These intimacies are what we can see, as if it were an ethnographic document, through Pájaros de verano, the film by Cristina Gallego and Ciro Guerra. Although that is a first film, the escapees take us as spectators to other latitudes.
Again, as in the productions of Ciro, a journey and an audiovisual experience enriching with certain uncertainties happened in the shadow of the walker (2004), with whom we roam wandering and demons; The trip was made by the minstrels and a large part of the Caribbean coast in Los Viajes del viento (2009) and we had a cosmic and historical journey in El abrazo de la serpiente (2015). With a power of narrative power, where the exotics of history are no longer taken into consideration, to consider that they would say something, but keep us awaiting the events, of the plot, by a persistent and lively rhythm. It is a film with many folds and also – as a central point – violence, crossed with drug trafficking, in this case marijuana, there in the late 60s and early 70s.
More, a family history, which assumes that it can promote sex and honor. Here is a second film, an exciting experience, several gangsters have already said. It could have been a different culture, a different context and we would get very similar testimonies from that growing industry for trade and drug trafficking. La Guajira will also have to be told, not only in terms of cultures and capacities of their communities, but also to be merged with contraband and other situations, such as being a border area.
The film shows us the maturity of Colombian cinema, as well as the clichés. It will transcend what is counted in summer birds and, as has already happened in Cannes, Europeans and spectators from other contexts will enjoy the exoticism of cultures they know little about. More the attraction of violence mixed with drugs. The cocktail is explosive and jumps into the embrace of the snake, in which ethnicity was more important, in Pájaros, the directors did it, to tell the world that they are from Colombia, but that they make films that take into account the global village.
Summer birds, has its own flight capacity. It does not idealize indigenous communities, but that combination of their ceremonies and beliefs with themes of a macabre nature leaves many concerns and inconveniences. And what he does in a clever way is to articulate the principles of the Wayúu and their confrontation with a phenomenon that not only breaks them, but also all Colombians. Few films, for a subject of so many dimensions, are recorded in Colombia, and with this nuance we do not have much background information. Certainly they will fly very far, although they feel that they are so airborne, it is not like the spring, they claim to be the Wayúu. Of course, the Wayúu are condemned to live as marginal and they have benefited, and their culture was more of the museum's advantage than their own.
Ya La Guajira was covered in films. The eternal night of the twelve moons (2013) becomes the preamble of Pájaros, since the film begins with the ceremony or the step from a girl to a woman in the Wayuu worldview. Then in Cristina and Ciro there is a man -Rapayet- who wants a girl-woman-Zaida to be his fiancé, and suddenly we go to film two: the courtship between her and him and the implications of building a family. We see, then, a landscape of the dry land of La Guajira and like certain oases the lake breaks down, also those customs and rituals: the appreciation of life, the way to kill, the wrist among families mediated by the palabrero , the dialogues in Wayunaiqui that show us a way of thinking about the Wayúu and that cancer was even incubated in the minds of every Colombian because it is the drug trade. The motto with which it is promoted attracts: if there is a family, there is honor. If there is honor, there is a word. If there is a word, there is peace. We would say from the cinema: if there is history, there is a cinema. If there is cinema, there is emotion. If there is emotion, we will obtain spectators. If we have spectators, there is a cinema.
* Educational University of Pereira. [email protected]
Country, year, duration Colombia, 2018, 125 minutes
Directors Cristina Gallego, Ciro Guerra
Scenario Maria Camila Arias, Jacques Toulemonde
Music Leonardo Heiblum
David Gallego Photography
Producer Ciudad Lunar Producciones / Blond Indian Movies / Pepper
Films / Snowglobe films / Boutique films
Genre Drama | Drugs. 70
Actors Carmina Martínez, José Acosta, Natalia Reyes, Jhon
Narváez, Greider Meza, José Vicente Cote, Juan Bautista Martínez