🔴 Watch Pajaros De Verano (2018) Full Movie
Date: 2020-03-02 21:53:38
Viewed: 145 times - 6 hour, 50 minute, 16 second ago
To see the passage of the birds just know where - and especially when - to observe the sky. But to understand it, to know it, to know what connections with time, the changing of natural cycles and seasons hides, you have to stand still for years, decades, if not even lives or generations in the same place. And to become one with space and with time, even though everything around it always seems the same.
Pájaros de verano begins by recounting this slowness and does so by showing the secular cycles that mark the life of the Wayuu Indians, a Native American population originating from the Guajira Peninsula, in northern Colombia on the border with Venezuela. The initiation rites of young women, the ritual dances to combine weddings, the economic agreements between families, the rivalry between the tribes that the film shows in the first minutes seem to be the beginning of a story that intends to investigate the ethnographic roots of a people forced to deal with a present - we are in the 1960s - which rhymes with progress. But to which a tribal system like theirs seems unable to adapt and therefore destined to disappear.
Instead, it is precisely when it seems that history is channeled on this track that Pájaros de verano changes pace and turns into something else. The clash between the Wayuu and progress becomes the focus of a completely different and unexpected perspective. The young Raphayet wants to marry Zaida but does not have enough money to pay for the dowry (which in the culture of Wayuu Indians belongs to man). But he quickly found an easy and quick way to make money: sell marijuana (which other natives grow on the hills of the peninsula) to American hippies who bivouac on the beaches of the coast near the village of the Indians. The step to becoming a rich and powerful international drug trafficker at that point is very short and - over a decade, Raphayet builds a small criminal empire.
The story from which Guerra and Gallego take their cues really happened and is in fact the founding moment of the long (and infinite) history of Colombian drug trafficking - that of cocaine, which, as is remembered in a fleeting dialogue of the film, was the business of those of Medellin, it would have exploded only a few years later. However, the two directors are not interested in the news or the history, but rather in the anthropological and cultural value that the complex issue of drug trafficking between the United States and Latin America conveys. Like a late blow of colonialism, drug trafficking - in the film - is able to destroy even the tiny part of native populations that still survive on the American continent. The whites, who play a marginal role in the film, succumb as much as (perhaps even worse) the Indians to the power games that the drug market unleashes, but the question that marks a decisive and substantial difference is the anthropological one. It is in fact the values that are given to people and things that determine the gap between the cultures at stake. Unlike the stories of drug trafficking that cinema has told us (from Scorsese down) in Pájaros de verano we see a microcosm of self-destructing crime not because of money - the true ontological principle of colonialism - but in the name of a moral tradition and a millennial memory that while feeding on superstition do not give almost any value of material goods. As if the illusion of being able to play the same game as the conquerors is at the same time an inexorable condemnation.
And in the film's finale, when the flocks of birds mark the passage of time and seasons, they encounter the same desert as always, the same forests and the same beaches. But no one stops to observe them anymore.
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