Les oiseaux de passage

... but birds can sing this story so it can remain forever.

My favourite parts of the film had to do with the cantors singing about their own view on the happenings while the inspiring photography drives us into another world. In fact many different worlds, considering we're led from the desert to the foggy mountains to the beach.

A sui generis gangster movie where indigenous traditions, folklore, religion and tribal ways of life take us through this journey of a family being torn by its own ambition of being thriving and united. But also - and probably more important for the author indulging in the showcase of such folklore - a story about the modern world destroying the old one.

I had reviewed "El Abrazo de la Serpiente" by Guerra (with a 4 out of 10.. getting myself a lot of bad votes), and my curiosity towards this movie started with the trailer as it was released: EAdlS might have been a bad movie, but the basic material wasn't bad at all - this new endeavour should be better, embracing the easier-to-digest ganster genre. And here we are: despite a certain slow pace and the obvious constant lingering on the local culture which lots of people might not be fond of, this is obviously a huge improvement.

Regarding the weak points I find the direction very static: most of what happens feels like happening on a stage where actors are all well ordered in rows or ensembles positioned perfectly for the viewer, whether they are talking, negotiating or killing each other. Definetely not realistic and contrary to any action-movie standard.

Also the conclusion, though furtunately avoiding the stupid gangster movie traditional tropes, feels totally underwhelming: the writers could have found something in line with the rest of the movie without leaving the viewer disappointed with such a forgettable ending.

I don't know. Maybe in 50 years we'll be considerig Mr Guerra like Antonioni, and people like me, just idiots unable to get his art. I don't think so but we'll see.

Anyways a great movie. Ty to all involved.

Greetings again from the darkness. It's not unusual for movies to "trick" us into embracing a drug dealer, and even kind of rooting for them - despite the near universal condemnation of such folks when we are outside of a dark theatre. Co-directors Cristina Gallego and Ciro Guerra were the producer and director behind the Oscar nominated EMBRACE OF THE SERPANT (2015) about an Amazon tribe striving to hold tight to their way of life despite outside interference. This time out, they focus on the rural Guajira territory of Columbia, with its desert conditions and villagers committed to their own traditions.

The film is based on a true story and covers the time period of 1960-1980, and is separated by chapter titles that include the year and a hint of what's to follow. We first see Zaida (Natalia Reyes) as a girl in confinement as she prepares to be introduced as a woman to the villagers. This is one of the more elaborate rituals of the village, and it leads to Rapayet (Jose Acosta) asking for Zaida's hand in marriage. Her mother Ursula, a respected village elder, sets the dowry at what she believes in an unattainable level for Rapayet: 30 goats, 20 cows, and 5 necklaces. Ursula has unwittingly set off a chain of events that eventually brings the family money, power, and tragedy. How can a few goats and cows cause this? Well, when one is poor and needs to quickly assemble a large dowry, what better way than to enter the drug trade? And that's exactly what Rapayet does.

Rapayet's friend and partner in the coffee trading business, Moises (Jhon Narvaez), joins him in the transition of careers, and while Rapayet is content to build his empire quietly and under the radar, Moises runs amok with the power and money. Ursula is respected for her abilities as a dream reader, and she's constantly dousing Rapayet's business with the cold water of her visions ... worried mostly about the safety of her daughter Zaida. By 1971, Rapayet's business of peddling marijuana to gringos is booming, and by 1979 (in a chapter entitled "Prosperity") we see the results: a mansion-fortress in the desert protected by guards with automatic weaponry (a sure sign that bad news is on the way).

What began as a look at peaceful remote villagers sticking to the traditional path of their ancestors, transforms into a drug war featuring cartel mobsters. Cinematographer David Gallego contrasts the beauty and simplicity of traditions with the danger and violence of new money and new world order. Leonardo Heiblum's score is a terrific complement as well. The infancy of the Columbian drug trade presented here conveniently places blame on the free-spirited youngsters of the Peace Corps; while the story plays out like a Greek tragedy, replete with mixed messages on revenge, capitalism, tradition, greed, and family ties. It's a rags-to-riches story that pulls no punches when it comes to the price paid for taking an illicit shortcut. It's a path that can destroy lives and culture.

Birds of Paradise takes a familiar subject, the Colombian drug scene in the '60's and '70's, and makes it into a watchable Godfather saga. Family is the center of the action leading to, you guessed it, warring drug kingdoms. The cinematography is lush, the actors authentic, and the themes eternal.

The stuff that makes the world happy, weed, comes down from the mountains to the small airplanes, which fly north to the US, a pleased customer bringing prosperity to otherwise impoverished Colombians. Marriage promises families forever linked until capitalism, not communism, rends even the strongest familial ties.

The five "cantos" embrace happiness and misery in equal measure: wild grass, the graves, prosperity, the war, and limbo. The coming out party of gorgeous Zaida (Natalia Reyes) presages a bright future for her Wayuu tribe with a blazing-red silk dress and stunning face paint. However, the imposing mother Ursula (Carmina Martinez) demands an expensive dowry that suitor Rapayet (Jose Acosta) might have difficulty offering. This matriarch gives the lie to any theory that Latino culture is purely patriarchal.

Ambition leads to drug running, family feuding, and temporary wealth. The riches are embodied in the colorful fabrics that are flamboyant and garish at the same time. The dark downfalls could be written about anywhere.

Birds of Passage is an engaging and beautiful gloss on the effects of tribalism and the corruptions of wealth and power, exacerbated by the obsession with the belief in family to die for at all costs. It is a glowing and menacing reprise of the Colombian Corleone days set amongst the indigenous Wayuu, for whom only a few moments are in paradise.

This marvelous movie takes place in Colombia, within the Peninsula of the Guajirain, a sparsely populated and arid area, and mostly played with Wayuu autochthons. This timeless univers is characterized by a rather pronounced communitarianism, each village highlighting its differences with the surrounding ones, while the origin of these differences remains, as often, unexplained and obscure. Nevertheless, they share ancestral traditions, folklore and values such as honor and family bonds. Thus, during the first 30 minutes, we do not really know when the film takes place, until the informative and surprising appearance of cars. Thus, we may guess that we are in the 60s / 70s. A marriage proposal between a man and a woman from two neighboring tribes will be, by a strange combination of circumstances related to an exorbitant dowry, the opportunity to integrate the marijuana trafficking, which is a very lucrative universe while slowly distorting personalities. Like in a Greek tragedy, these families will ineluctably suffer a descent into hell, via the classical 'eye for eye, tooth for tooth' philosophy.

The film is visually sober and simple, but of an exacerbated aestheticism, with an unusual care about details, including birds. Moreover, the actors are excellent, especially the two main ones: José Acosta (Rapayet) and Carmiña Martínez (Úrsula).

This film is without a doubt a thought- provoking, chaotic and memorable experience. A lot of films choose to talk about the drug wars and the effects that power and money can have to humans, but this one feels like no other. It is griping and intense and handles its subject material in the best of ways. It is obvious that the creator of the film did everything he could so that the movie feels realistic and interesting to the viewer. Its beautiful and colorful visuals, the exceptional sound design and the strong and immersive soundtrack made you feel as a part of a whole and the film never felt boring or cliche. It is masterfully crafted and really well-paced. Every conversation and direction that the film takes feels logical and you can feel the chaos slowly coming to the surface and destroying this tribe's life. Also, whenever a certain ritual was taking place, like the bird-like dance or the spitting by the old lady that is the matriarch o the tribe, I was instantly hooked by it. Its a movie about life and death and how a small change could lead to a larger one and to a larger one and in the end to death and chaos. Its a story about people which are trapped in their own deadly webs and are unable to escape. Everything that was young and beautiful,the red dress of the young actress, the insects and the kids, the dances and that feel of family, togetherness and spirituality is lost and overshadowed by dullness and corrupted and greedy people, who seek power but in the end find death. Tragic indeed 8/10 and who knows? maybe a 9 on a second watch