Tambien la lluvia script
In memory of Howard Zinn. I told you this would happen. Come on. Choose the ones you like. Could you go? And we're not going to go? We've got more than enough inside.
Well, apologize to them. I'm sorry. We don't need anyone else. We've been waiting for hours.
Tambien la Lluvia, une histoire de Bolivie
We can't see anyone else. We're going to wait here. And my girl wants to act. You don't understand, white face. We're not leaving until you see us all. We're not moving from here! We're going to see everyone. Film that bastard for me. Well, Costa thinks Columbus. No, Costa knows this place. None of that digital shit. This could be a mess, really. Have you seen their faces? What's Columbus doing. From the Andes or wherever.
Give me a fucking break. You can negotiate things here So, it's about money.In most of the countries of Central and South America, some version of The Conquest is still going on.
Any visit to the villas miserias of Buenos Aires, the ongoing mine operations at Cerro Rico in Potosi, Bolivia, or just about anywhere in the Guatemalan countryside will give you a sampling of how suffocatingly difficult life is for the Indian populations of almost every Central and South American country. To save money, the filmmakers go to Cochabamba, Bolivia, where they encounter many hundreds of Indian citizens wishing to be extras in the film. They hire several, planning to pay them two dollars a day, and turn the rest away, over the protests of those being denied.
Daniel is a truculent political leader among the Cochabamba Indians, organizing a huge protest for a local, home-grown water system in Cochabamba against the local government, which has hired a multinational corporation to develop a new system. The Indians are doing just fine building their own, but there's money to be made with the multinational, and therein lies the conflict that leads to the major protests and street battles in Cochabamba that occur throughout this film.
The plot goes, in very inventive ways, back and forth between two stories. On the one hand, there is that of the film crew, its actors, the Indian bit players and extras, and the actual dramatic film itself, in costume, that they are making. As the film-within-the-film is being made, and shows the horrifying cruelty of most of the conquistadoresthe Cochabamba poor are fighting against the government and the army, with grave injuries and death the result.
Daniel, the rabble rouser, is arrested, beaten and jailed, and the film producer Costa bribes an official to have Daniel released so that he can film the important scene in the movie he is producing, in which the Indian leader -- played by Daniel -- is burnt at the stake by conquistadores. It is he who hires the rabble rouser Daniel, over the producer Costa's objections.
Costa is played by the superb Luis Tosar, a Spanish actor who did a turn as a drug kingpin in the dramatic feature Miami Vice. Tosar's Costa cares nothing for the Indians he hires for his movie, especially Daniel, whom he sees as a noisy troublemaker.
As the threat to his movie project from the street protests becomes real, he becomes less and less willing to stand his ground in defense of the protestors, as one would hope he would do given his solid leftist credentials.
So, in this film, the selfish, money-grubbing producer crosses the line to real love for his protestor friends, while the heart-driven director, mouthing feel-good platitudes to no particular effect, ends up powerless to help them.
Sitting by the roadside after almost his entire film crew has abandoned him, he appears simply lost. He can do nothing to regain whatever moral authority he may once have had. An indigenous Aymara Bolivian, Aduviri is a professional actor and drama teacher at the one single film school in La Paz, Bolivia. His portrayal of Daniel, who is by no means a noble savage, is so nuanced and many-leveled that you simply cannot wait for him to be on screen. His last scene, in which we see him saying goodbye to Costa, a man who once hated him and for whom he had in the beginning no benevolent feelings of any kind, is memorable for the integrity of its emotional truthfulness.
The Uruguayan Eduardo Galeano, whose trilogy Memory of Fire is a vast, very unorthodox and famous history of the Americas, wrote, "In this world of ours, a world of powerful centers and subjugated outposts, there is no wealth that must not be held in some suspicion.
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So when a movie comes along and demonstrates the real potential of using this narrative style, it deserves special recognition.
But it is so much more. They arrive with their film crew to Cochabamba, Bolivia, in during a moment of great social upheaval over the privatization of water. When a company arrives under government permission to restrict their water access for the purpose of making a profit from them, it creates dramatic backdrop that emerges to the forefront as the film progresses.
The film works on so many levels. The cinematography is intimate and beautiful. The premise of a movie within a movie is not a source of distraction because when the scenes of the sixteenth century are being shown in the film, the camera and directors disappear allowing for a more seamless layering of time periods as the movie draws to its heart-pounding conclusion.
The music is deeply soothing and yet tense when it needs to be due to its usage of string instruments. All of this creates a wonderful tapestry for a film that is really about solidarity and the cross in an age of deep regret, loneliness, and waywardness. The historical characters of Las Casas, Columbus, and Montesinos figure richly into the narrative.
What makes this movie so exciting, at least for someone who studies or cares about this moment in early modern history, is that it presents the conflicted interpretations of contemporary Spaniards. There is an incredible dinner scene with excellent dialogue that provides an example of what I am talking about. The actors are gathered around talking about the movie and the social crisis. He asks: was Las Casas really just another face of empire as one author has recently suggested?
Did he not, after all, defend the African slave trade as an alternative to Indian slavery? These are difficult questions that need to be treated carefully. Even though we can all sympathize with the voices of cynics and skeptics in our spiritually impoverished age, are we left with this as our only path?
That the film provides an answer to this in the negative is truly its greatest contribution as both a Spanish and Latin American film for the rest of the world.
The two characters in the movie that demonstrate this juxtaposition of righteousness and injustice—clearly evident early on in the movie—are Daniel and Costa. After all, this is what made Las Casas and his Salmantine counterparts so problematic to the Spanish Crown. They argued incessantly: the Indians have a right of self-defense against the aggressive Spaniards.
But there is always a choice: martyrdom or just heroism. I think it would be a travesty to elide the fact that the cross and self-sacrifice appear in both instances even though there are important differences. The movie shows how this is so through solidarity. Free WordPress Themes. University of Notre Dame. The School of Salamanca. Feed on Posts Comments.It is a highly political film which draws clear parallels between Spanish colonialism five centuries ago and modern globalised imperialism.
It also raises questions about filming on location in poor countries, linking it to colonial exploitation. The film examines the contradictions encountered by even idealistic artists when forced to compromise with corporate sponsors in order to gain funding for their work and this limits their capacity to challenge the systems of power they attempt to portray.
The film portrays the efforts of a director and producer to make a historical film about Columbus, highlighting the genocidal rapaciousness involved in the conquest of the New World. It is dedicated to the memory of the late radical American historian Howard Zinn, which is fitting given the way the film sees history not simply as a reflection the past but also an attempt to better understand the present in order to influence the future.
The film segues effectively between its two strands. The Columbus film is shown partly in rehearsal, partly in the viewing room and partly as viewers would see the finished film. The film references several other films and genres. These references are perhaps misleading as it is very much in the realist tradition.
When the filmmakers, having selected the people they need, try and dismiss the rest of the crowd, trouble breaks out. They do not initially realise that Daniel is a prominent leader of the Cochabamba protests and his role in the struggle will interfere with the making of the film. Costa has to bribe the police chief to get him out of jail for a vital scene, keeping from Daniel the fact that he has to go back once the scene is shot.
The dramatic highpoint occurs when, in the Columbus film, the Spanish soldiers burn Atuey and two other Tainos at the stake. However, the limitations of pious appeals are shown in the modern story when the police arrive to re-arrest Daniel and the Quechu actors get down from the cross and take direct action to free Daniel from the police car. There is another important character, Anton Karra Elejalde who plays Columbus.
He is an idealist led to cynicism and drink perhaps by his disappointment. He ridicules the idea that Las Casas should be the conscience of the Columbus film, pointing out that he had supported the idea of importing slaves from Africa to spare the indigenous population.
The final sequence of the film shows the rise in tension as the dispute escalates, with fighting on the street, barricades and bullets, leading to the film crew having to abandon the film and head for the airport.
However, this view underestimates the capacity of individuals to reassess their actions as their own values are challenged and begin to change. Moreover, in his discussion with Sebastian, It is strongly hinted that Costa was not always interested only in the bottom line, that he has retained the core of idealism which brought him originally into filmmaking.
This is a very complex, intelligent and powerful film that works on several levels. Here is the trailer:. If you are of a cynical disposition and wonder if Tambien la Lluvia fell into the same situation with regard to exploitation of local labour, have a look at a long interview with Iciar Bollain on Youtube:. You are commenting using your WordPress.
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Frases de “También la lluvia”
You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email.Cognizant of his limited budget, Costa elects to film in Boliviathe poorest country in South America. There, impoverished locals are thrilled to earn just two dollars a day as extras in the film, and willingly engage in physical labor for set preparation.
Costa saves many thousands of dollars by having underpaid extras perform tasks meant to be completed by experienced engineers. Their first encounter with Daniel gives Costa pause and causes him to oppose his casting, but Sebastian gives him the role. Sebastian is unaware that Daniel is leading demonstrations against the historically real event of water privatization that the Bolivian government has agreed to.
Daniel pretends to acquiesce to Costa's insistence that he stop protesting, but actually continues protesting and sustains facial wounds in a clash with police.
At this point, Costa bribes Daniel to wait for filming to conclude before participating in the rebellion again. Daniel agrees, accepting the money, but spends it on funding the protesters and remains involved, eventually becoming bloodied and imprisoned. Upon this scene's completion, police arrive in the Bolivian jungle and detain Daniel again, but are besieged by the film's extras which allows Daniel to escape. That night, when actors Juan and Alberto see the latest news reports showing violence in Cochabamba, they become so worried that they demand to leave.
The revolution ends shortly thereafter with the departure of the multinational water company, but Cochabamba is left in ruins from the conflict.
Costa expresses hope that the film will be finished after all, and Daniel emotionally presents him with a vial of Bolivian water in appreciation for his life-saving efforts.
Berlin International Film Festival.
European Film Awards Nomination. Palm Springs International Film Festival. Latin ACE Awards. Tosar makes his conflict not only credible but palpable. The restoration of civilian rule to Bolivia in ended decades of military dictatorshipsbut did not bring economic stability.
Inwith hyperinflation at an annual rate of 25 thousand percent, few foreign investors would do business in the country. For the next 20 years, successive governments followed the World Bank's provisions in order to qualify for continued loans from the organization. In Octoberthe privatization of Cochabamba 's municipal water supply followed, allowed by a new law and the investment of a new firm, Aguas del Tunari — a joint venture involving San Francisco -based Bechtel Corporation.
The agreement involved the firm investing in a long-envisioned dam so they dramatically raised water rates. Protests, largely organized through the Coordinadora in Defense of Water and Life, a community coalition, erupted in January, February, and Aprilculminating in tens of thousands marching downtown and battling police in the Cochabamba protests.
In Aprilthe national government reached an agreement with the Coordinadora to reverse the privatization. The wave of demonstrations and police violence was described as a public uprising against water prices. Lennon, Paul Joseph; Egan, Caroline Bulletin of Hispanic Studies.Guion: Paul Laverty. Vestuario: Sonia Grande. Distribuidora: Alta Classics. Aprovechen y vean esta extraordinaria historia badada en hechos reales.
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If you prefer, pick the ones you like and get rid of the rest. Yeah, her and others, but we can't see them all, understand? You don't understand, white face. We've been waiting for hours. You can negotiate things here -- hotels, transport, catering, whatever. Listen, Costa, we should've gotten professionals and used a crane! No, don't fuck with me, I don't want this guy on the fucking shoot. He came to the Indies when he was 18 to take charge of a plantation.
We're running out of water here, and between all of us, we've bought We're digging a ditch to bring the pipeline along the hillside. That's not very pious, Father, but the director will cut it out. For example, the fact that Las Casas wanted black slaves from Africa.Comienza el rodaje. Mientras tanto, la empresa del agua local cierra los pozos de recogida de agua de la lluvia.
Las autoridades la respaldan. Daniel es detenido por las autoridades bolivianas, cosa que imposibilita el rodaje de algunas secuencias clave. Sin embargo, en el proceso, uno de ellos descubre que ese objetivo no es tan importante. Alcanza algo un poco mejor. You can follow any responses to this entry through the RSS 2. Both comments and pings are currently closed. Me ha encantado la imagen de Paul Laverty con peluca queriendo salvar a su hija.TAMBIÉN LA LLUVIA trailer Bolivia
Al fin alguien coincide conmigo en lo de Costa ayudando a la mujer. Acabo de rechazar un par de comentarios por no aludir ni siquiera indirectamente al tema del post. Es la primera vez que lo hago en Bloguionistas.
Hay muchos lugares en la Red para hablar sobre otros asuntos. Viene bien hasta que llega el momento del agua.
Que creo no entendiste bien toda esa parte. Suena gracioso y casi entro y me como tu analisis por el humor en el que lo cuentas. Enseguida te abren las puertas de su casa y te acogen como a uno de la familia. Por eso entiendo perfectamente que la mujer le diga que es su amigo y le pida ayuda.
No tienen ese concepto de empresa cagadora. Por la ingenuidad sana que tienen con respecto a la enfermedad de mentalidad de empresa. Sencillamente no lo entienden. Por el contrario yo fui viendo que costa iba cambiando. Al quedar al descubierto y ve lo que afceta su acto comienza a tomar consciencia. Lo que sucede que no es algo que la directora lo marque burdamente. Sino que Costa sigue queriendo sin cambiar. No es que se derrumba enseguida. Se le parte el alma al ver a Daniel impasible ante los billetes que le tira.