También la lluvia (2010)

»También la lluvia« (2010), directed by Icíar Bollaín and written by Paul Laverty, is a complex and layered film that intertwines historical and contemporary socio-political issues. Set against the backdrop of the Bolivian water wars, the film follows a Spanish film crew who travel to Bolivia to shoot a film about Christopher Columbus’s exploitation of the New World, only to find themselves caught in the midst of contemporary exploitation and conflict over water rights. The narrative cleverly juxtaposes the historical and modern forms of colonialism, highlighting the ongoing struggle against exploitation and oppression.

1. Historical Parallels and Irony

The primary thematic strength of "También la lluvia" lies in its exploration of the ironic parallels between the past and the present. As the film crew reenacts Columbus’s brutal treatment of indigenous people, they become unwilling participants in a modern-day exploitation reflected in the privatization of water—a vital life resource. This dual narrative structure exposes the enduring nature of colonial attitudes and the cyclical pattern of history.

2. Exploitation and Moral Conflict

The film raises profound moral questions through the character of Sebastián, the director, who is initially more concerned with his artistic vision than the welfare of the local people. His moral journey reflects a growing awareness and critique of his own role in the cycle of exploitation. This conflict is mirrored in the character of Costa, the producer, who undergoes a significant transformation from a figure motivated by profit to one who acts out of empathy and solidarity with the local struggle.

3. Indigenous Rights and Representation

"También la lluvia" also addresses the issue of indigenous rights and representation, both in the historical context of the Columbus film and in the actual events surrounding the water crisis. Daniel, one of the key indigenous actors and a leader in the water protests, represents the enduring spirit and resistance of indigenous populations. His dual role, both in the film within the film and in the actual protests, serves as a powerful symbol of indigenous resilience and agency.

4. Cinematic Techniques and Symbolism

Bollaín uses various cinematic techniques to enhance the film’s thematic depth. The use of naturalistic lighting and handheld cameras lends an immediacy and authenticity to the scenes, particularly during the protest sequences. Symbolic elements, such as the recurrent motif of water, serve to connect the historical and contemporary narratives, emphasizing water not only as a basic human right but also as a symbol of life and resistance.

5. Globalization and Neo-Colonialism

The film critiques modern forms of neo-colonialism manifested through economic globalization. It highlights how multinational corporations and complicit governments continue to disenfranchise and exploit vulnerable populations, echoing the colonial endeavors of the past. This theme is particularly resonant in the film’s depiction of the water wars, a real historical event where the local populations fought against corporate privatization of their water supply.

Conclusion

"También la lluvia" is a poignant and critically engaging film that uses historical and contemporary narratives to explore themes of exploitation, resistance, and moral awakening. Through its complex characters and intertwining stories, the film offers a powerful commentary on the persistence of colonial attitudes and the enduring fight for rights and justice by indigenous populations. Bollaín’s film is a compelling reminder of cinema’s power to reflect and critique societal issues while connecting deeply personal stories to broader socio-political contexts.