This film follows the fictional Spanish film director Sebastián (Gael García Bernal) as he struggles to shoot a controversial film about the Spanish conquest of the New World. Moved by the plight of the indigenous Taíno as expressed in the writings of 16th-century Spanish priest Bartolomé de las Casas, Sebastián pens a script that he feels will finally portray Columbus and his Spanish brethren for what they were... brutal, genocidal, conquerors who savagely subdued and forcibly converted the native Taíno population in the West Indies.
The only problem is that the Indians are actually Quechua and the Caribbean is the mountain highlands outside Cochabamba, Bolivia. Such inaccuracies are no mere oversights but rather the brilliant plan of director Sebastián and his film partner Costa (Luis Tosar) to recreate their version of the Spanish conquest on a shoe-string budget.
When a Bolivian government plan to privatize the local water supply leads to popular uprisings, life starts to imitate art. Will the director be able to finish his beloved project or will the very real indigenous uprising playing out before him cause it all to come crashing down?
As Spain's entry in the Best Foreign Language Film category at the 83rd annual Academy Awards, Even the Rain draws on an eclectic mix of talent. Perennial favorite Bernal is his usual high-strung self in the role of the obsessive director Sebastián, the perfect foil to Tosar's rough-edged yet sensitive Costa. Both of them are outshined by first time actor Juan Carlos Aduviri, whose breakout performance as two indigenous leaders, one fighting Columbus and the other the Bolivian government, really sets the film in motion.
The real star of the film however is the script penned by British screenwriter Paul Laverty. Drawing on his first-hand experience traveling through war torn Central America in the 1980s, Laverty creates a tale of filmmaking gone awry that dares to let it's characters waver in morally ambiguous territory right until the end. He injects just the right amount of flawed humanity into the characters to make them and their perilous decisions into a film drama of the highest caliber.
The final scene of the film within the film (Source: Examiner.com)
In the hands of less experienced filmmakers, Even the Rain could easily have turned into an overly preachy, hit-you-over-the-head metaphoric tale about the brutal legacy of colonialism. The film makes it absolutely clear that there was and still is great injustice in this "New World." What isn't clear is just what exactly are the protagonists going to do. Finish the film about the historic oppression to only turn a blind eye to the modern injustice or dare to get involved in a very real and deadly conflict? It is this ambiguity and the subtle and smart ways it goes about answering these questions where the film succeeds.
Few films dare to tackle both the egotistical, money-driven world of modern filmmaking and the high drama of humanity fighting for its most basic rights. Even the Rain does just that. The result is a work whose message is so abundantly clear yet it is so downright gripping to see it unfold.
Daniel (Aduviri) dressed as the character Hatuey shares a moment with the director Sebastián (Bernal) (Source: nytimes.com)
Even the Rain does something unique. Most films about the indigenous people of the Americas are either costume dramas set in a clearly historic past (The Mission, Dances with Wolves) or they are modern pieces about the realities of indigenous life today (Smoke Signals, Frozen River).
Even the Rain deftly combines these two cinematic genres to create some of the most poignant commentary yet seen on film about the enduring tensions between Native and non-Native people.
The irony is not lost on the audience when the supposedly sympathetic Sebastián, so in love with the kind words of Bartolomé de las Casas, snaps at his indigenous actors, practically demanding they complete a critical scene for his film. In a sense, he becomes a modern Columbus, a man lording over these indigenous actors, using them to propel his own personal creative vision towards completion.
Sebastián (Bernal) surrounded by his actors (Source: Examiner.com)
On the flip side, Daniel (played by first time actor Juan Carlos Aduviri) is a man committed to his community who just happens to be cast as the historic indigenous leader Hatuey. Daniel also leads the real-life water riots that rock Cochabamba at the expense of his continued commitment to the film. Why would a man care about creating some cinematic masterpiece when he and his community are systematically being deprived of their most basic human rights?
This tension between a man obsessed with a film and a man committed to his community not only provides the main drama but the main lesson in the film.
As someone who actively writes and comments about indigenous issues, it was a lesson I took to heart. I have to be careful not to end up like Sebastián, so obsessed with some high-brow, philosophical, creative endeavour that I loose sight of the real humanity behind the issue.
I give Even the Rain 3.5 out of 4 stars and declare it required viewing for anyone interested in indigenous depictions in cinema or the history of Latin America.
For more on Native films check out this previous Top 10 list:
Forget Avatar: 10 Compelling Films of Real-Life Indigenous Struggles
Note: This review is based on my original review available here:
BLOG NOTE: Today marks the one year anniversary of Drawing on Indians and what a year it has been. From Findians to Hipsters, Western Sky to Tribal Chic, it's been a crazy year of cringe-worthy appropriation and thought-provoking activism.
I'm going to take some time off from the blog to focus on other things in my life (job, school, family, etc.) but I encourage you all to check out the other fine blogs featured in the right hand column. I have a thousand ideas just waiting to hit the page so see you in a few!