Brazil
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AMAZON FOREVER Director, writer & cinematographer: Jean-Pierre Dutilleux Music: Stewart Copeland 2004. 91 minutes. 1.78:1 Setting: a Xingu River settlement Languages: French, Portuguese, English, Tupi Availability: none 
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Nicolas, a young French filmmaker goes to the Toa Toari reserve in the Xingu River valley to film the Kuarup ceremony. Nicolas falls in love with Chief Ayupu's daughter. He adapts to Xingu customs and is recruited to the cause of fighting the Portuguese loggers who are destroying the forest. He films the loggers' destructive ways, and films the Xingu defending their land, and finally goes to Rio de Janeiro and abroad to raise awareness of the plight of the rainforest. Indigenous actors, authentic dress and practices, beautiful scenery and a worthy cause all contribute to this gripping story. Writer-director Jean-Pierre Dutilleux has also filmed many documentaries on indigenous peoples. Check out his website at jpdutilleux.com. |
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AT PLAY IN THE FIELDS OF THE LORD Director: Hector Babenco Writers: Hector Babenco, Jean-Claude Carrière Cinematography: Lauro Escorel Music: Zbigniew Preisner 1992. 186 minutes. Rated R. 1.85:1 Setting: Brazilian rainforest Languages: English, Naiaruna Availability: VHS; region-2 DVD in Spanish
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An American pilot flying over Brazil runs out of fuel and lands at an outpost in the rain forest. The local authority persuades him to drop bombs on the troublesome Naiarunas in exchange for gasoline. When he sees the Naiaruna below, he becomes sympathetic and decides to join them instead, since he is part Sioux. They welcome him as Kisu, the thunder spirit. Meanwhile, Catholic and Protestant missionaries seek out the Naiaruna for conversion. Missionary zeal, capitalism, hatred and a fraudulent Sioux all mix explosively to wreak havoc on the Naiaruna. A complex story marred by cliche characters. Based on the 1965 novel by Peter Mattheissen. The film Won a Golden Globe for Best Original Score. |
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BIRDWATCHERS (La tierra degli uomini rossi) Director: Marco Bechis Writers: Marco Bechis, Luiz Bolognesi Cinematographer: Hélcio Alemão Nagamine Music: Andrea Guerra 2008. 108 minutes. 2.35:1. Setting: Mato Grosso do Sul, 2008 Language: Portuguese, some Guarani Availability: not yet on DVD
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When two teenage girls on a Guarani-Kaiowà reservation commit suicide, the leader decides they must move out of the reservation. They take their bare belongings and settle on some unused land on a nearby estate. The wealthy owner of the land gives his overseer a gun to force the Guarani out. But the overseer sympathizes with the Guarani and cannot bring himself to use the gun, although he tries to get them to leave. Gradually more and more Guarani leave the reservation to join the sit-in, and a full-scale rebellion takes hold. This intense film has several fascinating subplots: A young man named Oswaldo (played by Abrisio Silva Pedro) foresees the suicides in a dream, and so he is trained to be a shaman. Oswaldo also befriends the landowner's daughter, who shows him how to ride a motorcycle. The film also explores the relationship between the grim Guarani leader and his emotionally needy son, who craves guidance during these tumultuous events. Birdwatchers features Guarani actors, most of whom are acting for the first time. This is an extremely intelligent, subtle and unique film. The original Italian title means, "The Land of the Red Men." Official site: birdwatchersfilm.com |
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BRAVA GENTE BRASILEIRA (Brave New Land) Director: Lúcia Murat Writer: Lúcia Murat Cinematography: Antônio Luis Mendes Music: Livio Trachtenberg 2001. 103 minutes. 16 and up. Setting: Mato Grosso do Sul near Rio Paraguai, 1778 Languages: Portuguese, Guaicuru Availability: DVD
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In the Portuguese outpost of Fort Coimbra in 1778, a peace treaty tenuously
holds Europeans and Guaicurus in check. Some Europeans respect the treaty,
while others are abusive and exploitive. When some
soldiers attack and rape a group of Guaicuru women bathing in the river,
one young man seeks revenge. We see a dramatic mourning ritual and his
patient determination to kill the Portuguese who killed his girlfriend.
The Portuguese have captured another girl, Anote, and a blond-haired boy
whom they believe was kidnapped (but an unspoken possibility is that he
is the son of an Indian and European, possibly even the son of the white
missionary living among the Guaicuru). This film features beautiful
cinematography, and some fascinating aspects of Guaicuru culture,
including their elaborate tattoos, their practice of infanticide limiting
children to one per person (mentioned in The Mission as well), and
the cudinhos, men who dress as and act like women. Brava Gente
Brasileira won two awards at the Brazilia Festival of Brazilian
Cinema, for Best Actress (Luciana Rigueira) and Best Music. Director
Lucia Murat has a gift for conveying depths of character concisely
through images--a smile, a turned head, a boy pounding a crucifix--so
that the film seems to convey volumes in brief moments, and it comes off
as a quiet, subtle film despite its great historical importance. The
title literally means "Brave Brazilian People," and seems to suggest that
the origins of Brazil's mestizo race are being composed right before our
eyes. The Guaicuru are played by Kaideweu, descendents of the Guaicuru,
who now live on a reservation and number only about a thousand.
Official site:
www.taigafilmes.com/bravagente/
Resumo em português: |
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THE BURNING SEASON: The Chico Mendes Story Director: John Frankenheimer Writer: William Mastrosimone Cinematography: John R. Leonetti Music: Gary Chang 1994. 123 minutes. Rated R. Setting: Brazilian rainforest, and U.S.A., 1970s-80s Language: English Availability: VHS
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A made-for-TV bio-pic about Chico Mendes, activist and union
leader of the rubbertree cultivators who fought against the wealthy ranchers
who devastate the rainforest in order to raise cattle. The Burning
Season is a run-of-the-mill biopic, but it is worth watching
as an introduction to Chico Mendes' life and the complicated issue of
Amazon rainforest politics. It won numerous awards, perhaps more in homage
to Chico Mendes than for its cinematic merits. Based on the 1990 book,
The Burning Season:
The Murder of Chico Mendes and the Fight for the Amazon Rain Forest,
by environmental journalist Andrew Revkin.
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COMO ERA GOSTOSO O MEU FRANCES [How Tasty Was My Little Frenchman] Director: Nelson Pereira dos Santos Writers: Humberto Mauro, Nelson Pereira dos Santos Cinematography: Dib Lutfi Music: Guilherme Magalhães Vaz, José Rodrix 1971. 80 minutes. Setting: Tupi settlement, rainforest, 1557 Language: Tupi, French Availability: DVD
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In 1557, a Frenchman is captured by the Tupinamba Indians in the rainforest.
The Tupinamba are friends with the French, but enemies of the Portuguese,
and they believe that this Frenchman is Portuguese because he has not
brought them gifts like the other French they've known. So they decide to
eat him and spend eight months feeding him. During this time, the Frenchman
collects wood for the Tupinamba and is generally treated well. He is even
given a girlfriend, Seboipepe (played by Ana Maria Magalhães). When
another Frenchman comes to trade with the Indians, he refuses to verify
that the captive is French and denounces him as Portuguese. For some reason
How Tasty Was My Little Frenchman is sometimes called a comedy, though it
didn't seem funny to me. Perhaps it could be seen as a satire on the
arbitrariness of nationalism. The film features candid male and female
nudity from beginning to end. The film was remade in the 90s with the
title Hans Staden. Director dos Santos, perhaps most famous for
Vidas Secas [Barren Lives], is considered one of Brazil's greatest
directors.
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O DESCOBRIMENTO DO BRASIL [The Discovery of Brazil] Director: Humberto Mauro Writers: Humberto Mauro, Affonso de Taunay, Bandeira Duarte Cinematography: Alberto Botelho, Alberto Campiglia, Humberto Mauro, Manoel Ribeiro Music: Heitor Villa-Lobos 1937. 62 or 83 minutes. B&W. Setting: east coast of Brazil, 1500 Language: Portuguese Availability: none
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In 1500 Portuguese explorer Pedro Álvares Cabral (1467?-1520), with 13 ships and 1500 men,
are blown off course while attempting to circle Africa and end up in the New World.
They drop ancor in a bay later called Porto Seguro (in the
state of Bahia) and exchange gifts with the
Indians. They invite two Indians on board, introduce them to the crew, and give
them food and wine. The two Indians suddenly lie down on the deck and go to sleep, and
the priest brings blankets and pillows and tucks them in. The fleet then sails on to an
island they call A Ilha da Vera Cruz (later renamed Terra da Vera Cruz when it was found
to be a peninsula). Once again the Portuguese befriend the Indians, then commence
to chop down trees to make a great cross. When the cross is constructed and raised, they
hold a mass, bless the Indians, and take turns doing European and Indigenous dances.
The Indians are not played by indigenous actors, though they do speak Tupi (untranslated),
which director Humberto Mauro took the trouble to learn.
O descobrimento do Brasil shows vestiges of the silent era, with printed narration,
minimal dialogue, and theatrical acting. These
anachronisms give the film an archaic feel, and, combined with Heitor Villa-Lobos' score,
cast an epic grandeur upon the otherwise thin plot. Although the film claims to be
historically accurate, the meeting of Europeans and Native Americans is so placid that it
borders on propaganda. Critics at the time suggested that Mauro was endorsing the reforms
of Getúlio Vargas, who came to power in 1930 and sought to recognize Indian rights and
improve their living conditions. After a cold critical reception in early 1938,
Descobrimento never played again and was forgotten for many years. It was
originally an 83-minute film, but the current version, restored in 1997, is only 62 minutes.
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THE EMERALD FOREST Director: John Boorman Writer: Rospo Pallenberg Cinematography: Philippe Rousselot Music: Junior Homrich, Brian Gascoigne 1985. 110 minutes. Rated R. 2.2:1 Setting: Brazilian Rainforest Languages: English; fictional native language Availability: DVD
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While an American engineer is constructing a dam in the Amazon River, his son is captured by the leader of an indigenous tribe called The Invisible People. The father spends the next ten years searching for his son in the jungle, but when he finally finds him, the blond-haired boy is a fully-assimilated Indian and a respected hunter in his village. The father realizes that the boy can never go back to civilization, however, the two team up to fight a gang of Brazilians who are kidnapping their women for prostitution, and in the course of getting to know the Invisible People, the father reconsiders his dam project because of the repurcussions it would have on his son's tribe. The Emerald Forest creates a fictional tribe and culture and language based on other Amazon cultures. It is less naturalistic and more fantasy-like than some of the other rainforest movies on this site, its high production values, gripping story, and sexy teen natives make it great introduction to the genre of Native American film for people who might not otherwise watch such movies, and may then be inspired to watch less accessible films such as Jericó or Brava Gente Brasileira. Check out the Emerald Forest Website. |
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O GUARANÍ Director: Norma Bengell Writer: José Joffily Filho Cinematography: Antônio Luis Mendes Music: Wagner Tiso 1996. 91 minutes. Setting: Brazil, 1600s Language: Portuguese Availability: VHS; all-region DVD (neither has English subtitles) |
One of several adaptations of the 1857 novel by José de Alencar (1829-1877), this film tells of a forbidden love between Peri, a Guarani man, and Ceci, a European woman. This version stars Márcio Garcia and Tatiana Issa. It was a critical and commercial flop. |
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HANS STADEN: Lá Vem Nossa Comida Pulando Director: Luis Alberto Pereira Writer: Luis Alberto Pereira Cinematography: Ulrich Burtin Music: Marlui Miranda, Lelo Nazario 2000. 92 minutes. Setting: Brazil, 1554 Language: Tupi, German, Portuguese, French
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Based on the experiences of Hans Staden, a Hessian sailor who was captured by the Tupinamba Indians in Brazil. The Tupinambas are friends of the French, while their rivals, the Tupiniquins, are friends of the Portuguese. The Tupinamba believe Hans is Portuguese because he has not brought them any presents, and so they decide to eat him as an act of revenge against the Portuguese. Hans is unable to convince them that he is German and a friend of the French, even when other Frenchmen come to visit the village. He can only stave off being eaten by making the Tumbiambas believe that his god will be angry with them if he is harmed. Meanwhile, he must witness a cannibalistic ritual performed on a captured Tupiniquin. Despite the gruesome subject matter, the film is not excessively gory, though it is unflinchingly realistic. The natives emit loud whoops, yells and singing that some viewers might find disturbing, and there is candid male and female nudity throughout the entire film. Hans Staden won several awards, many for its cinematography. |
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KUARUP Director: Ruy Guerra Writers: Ruy Guerra, Rudy Langemann Cinematography: Edgar Moura Music: Egberto Gismonti 1989. 119 minutes. Setting: Recife (large city on NE coast) and Xingu, 1954-1964 Language: Portuguese Availability: not available in U.S.
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Based on the 1967 novel Quarup by Antônio Callado. Nando, a Jesuit priest
(played by Taumaturgo Ferreira) is frustrated by Church authoritarianism
and the doctrine of celibacy. Don Anselmo (Dionísio Azebedo) reassigns
him to the Xingu missionary settlement. Fearing temptation by the naked
natives, Nando is encouraged by a sexy English reporter (Maitê Proença)
who seduces him. Stopping at Rio de Janeiro on his way to the Xingu,
Nando meets the authorities who are creating a national park in the Xingu,
but he learns that their true motive is to gain political control of the
region. He arrives at the missionary settlement in time for the kuarup,
an elaborate ceremony celebrating the creation of humans. Returning to his
original post in Recife, Nando finds that Don Alselmo has been assassinated
by a friend of his. Disenchanted, Nando returns to the Xingu and embraces
their culture and their cause.
Kuarup was said to be the most expensive Brazilian film ever made
up to that time. High production values and Fereirra's powerful performance
enhance this sweeping critique of modern Brazil.
Resumo em português:
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A LENDA DE UBIRAJARA (The Legend of Ubirajara) Director: André Luiz Oliveira Writers: Mário Arumani, Antônio Castor, André Luiz Oliveira Cinematographer: Mário Cravo Neto Music: Tuzé de Abreu 1975. 90 minutes. Setting: Amazon rainforest, pre-columbian times Language: Macro-Gê Karaja Availability: none
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Based on the classic 1874 novel Ubirajara, Senhor da lança, the
third in a trilogy of Indian-themed novels by José de Alencar.
Ubirajara ("Lord of the Spear") is the son of Camacan, chief of the Araguaia
people. He sets out incognito on a canoe to earn
the name of a warrior. He spots a Tocantim girl on the shore, chases after
her, and loses her. He then battles Pojucã, the mightiest Tocantim warrior,
and brings him back to his tribe as a captive, thereby earning the name
of warrior. But Ubirajara has fallen in love with Araci, the girl on the
shore. He cruelly rejects his current girlfriend, offering her as a tomb-bride
to the captive Pojucã, and heads to the Tocantim village to claim Araci.
He proclaims his intentions to the chief, Itaquê, and easily wins the
wrestling contests required of a suitor. Thus Ubirajara and Araci marry,
but no one knows that Araci is the brother, and Itaquê the father, of the
captive Pojucã. When the truth is revealed, a war breaks out between the
two villages. Spoken entirely in the native language of Karaja, and
with mostly native actors, this pre-Columbian adventure is one of the
most naturalistic films on Indians. Action, romance, and skimpy thongs
should make it a crowd-pleaser even for those who can't read the Portuguese
subtitles. Click here for an English
translation of the film.
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MEDICINE MAN Director: John McTiernan Writer: Tom Schulman Cinematographer: Donald McAlpine Music: Jerry Goldsmith 1992. 105 minutes. Rated PG-13. 2.35:1 Setting: Amazon rain forest Language: English, some passages in an unspecified native language Availability: DVD
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An eccentric scientist (Sean Connery) believes he has found a cure for cancer in the Juju flower that grows high in the trees, 100 feet up in the canopy of the rain forest. Dr. Rae Crane (Lorraine Bracco) arrives to bring equipment and review his work. Expecting a research assistant, Dr. Campbell is aghast to find that the scientist is not only a woman, but his supervisor. Veering uncomfortably close to romantic comedy, Medicine Man is saved by beautiful footage of the rainforest and its inhabitants (played convincingly by native-looking actors) and a valuable message about the twin dangers of deforestation and greedy pharmaceutical corporations. Though some of the comedy is enjoyable (such as Dr. Crane's experience with a powerful stimulant derived from bark), Medicine Man might have benefited from a more intense exploration of its vital themes. |
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REPUBLICA GUARANI Director: Silvio Back Writers: Deonisio da Silva, Silvio Back Cinematographer: José Medeiros Music: Lope de Vega, Domenico Zipoli, Ariel Ramírez, Herminio Giménez, J. Waldir, S. Garcia, Noel Guarany, Yaguarón-Paraguayo Editor: Láercio Silvia 1982. 100 minutes. Setting: southern Brazil Language: Portuguese Availability: VHS
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Entre 1610 y 1767, año de la expulsión de los jesuítas de América, estos misioneros lograron implantar en territorio guaraní, un proyecto religioso, social, económico, político y arquitectónico, que no ha podido ser igual hasta la fecha. El film narra la implantación de ese proyecto y las relaciones que establecieron los misioneros con el pueblo guaraní. |
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A SELVA (The Jungle) Director: Leonel Vieira Writers: Izaías Almada, João Nunes Cinematographer: José António Loureiro Music: Javier Cámara 2002. 105 minutes. Rated PG-16. Setting: rainforest, Belém do Pará, 1912 Language: Portuguese Availability: DVD (no English subtitles)
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Alberto (Diogo Morgado) is an aristocratic young man exiled from Portugal. Fleeing to Brazil, he finds a job at a rubber plantation which faces frequent attacks from the Parintintin Indians. The film focuses more on internal fueding at the plantation and Alberto's infatuation with a married woman, Yayá, than on the Indians. The Parintintins only appear in a few scenes and are unambiguously portrayed as the enemy. High production values do not mask bland acting and unfocused direction. A Selva was a coproduction of Portugal, Brazil, and Spain, and was based on the 1930 novel by Ferreira de Castro. |
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TREASURE OF THE AMAZON Director: René Cardona Jr. Writers: René Cardona Jr., Jacques Wilson Cinematographer: Daniel Lopez Music: Mort Garson 1985. 104 minutes. Rated R. Aspect ratio 1.85:1. Setting: rainforest, Belém do Pará, 1912 Language: English; occasional Spanish Availability: DVD
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From B-movie sleazemeister René Cardona Jr. comes this laughably bad jungle adventure about a trio of rogues looking for diamonds in the Amazon. A blurb at the beginning claims that the story is based on true facts that occurred in 1959, though the country is not stated. Emilio "El Indio" Fernández, in one of his late-career embarassments, plays Paco, a hotel owner surrounded by gun-armed Indians and sexy women. He warns all guests that they must declare anything they bring out of the jungle. Hemingway lookalike Stuart Whitman plays El Gringo, a hardened adventurer who once saw his friends beheaded by Indians. El Gringo is returning to the Amazon to find the diamonds he left behind. In the jungle the three rogues contend with wild animals, Paco's armed Indians, some wilder Jibaro Indians with blowdarts, a group of rival diamond-hunters, a voluptuous warrior woman named Morimba, and her unlikely Nazi partner Klaus, who plans to recreate the Third Reich in Argentina. The story and acting are ridiculous, but on the plus side there is plenty of action and some good wildlife footage. The movie also meets Jungle Exploitation Film requirements of women wrestlers, beheadings, man-eating crabs who eat a man's face and eyeballs, and fingers that continue to wiggle after separation from the body. Get the picture? |
Alexandre et Luc en Amazonie [Alexander and Luke in the Amazon] (Alain Kerjean) [in French, 26 min.]
Aimbere, tuxana do Brasil
Amazon Diary
Brasil, la guerra de l’or
Esses e outros bichos
Gold Rush in the Rainforest
Mato eles?
O mundo magico do A'ukre
Secretos del bosque
Storyteller
Alma Corsaria (Carlos Reichenbach, 1993)
Amazon [TV series starring C. Thomas Howell] (1999)
Amazone (Philippe de Broca, 2000)
Anchieta, Jose do Brasil (Paulo Cesar Saraceni, 1977)
Arara, Os (Andrea Tonacci, 1981)
Avaeté: Semente da Vingança (Zelito Viana, 1985)
Cabeças Cortadas [Cut Heads] (Glauber Rocha, 1970)
Capitalismo Selvagem [Savage Capitalism] (André Klotzel, 1993)
Caramuru: A Invenção do Brasil (Guel Arraes, 2001)
Cineasta da selva, O [The Filmmaker of the Jungle] (Aurélio Michilis, 1997)
Concerto Campestre [Country Concert] (Henrique de Freitas Lima, 2005)
Confissões de Frei Abóbora [Confessions of Brother Abobora] (Braz Chediak,1971) [based on the novel by José Mauro de Vasconcelos]
Consequences [short film](Claire Soares, 2008, 15 min.)
En la tierra del guarán [In the Land of the Guarani] (1934) [made in Argentina]
Die Farbe der Indios (Klaus Lautenbacher, 1987)
Gran Final, La [The Great Match] (Gerardo Olivares, 2006)
Guaranis, Os (Benjamin Oliveira, 1908)
Guarani, O (Paolo Benedetti, 1912)
Guarani, O (João de Deus, 1920)
Guarani, O (Vittorio Capellaro, 1926)
Guarany (Riccardo Freda, 1948)[made in Italy]
Guarani, O (Fauzi Mansur, 1979)
Idade da terra, A [The Earth in Anguish] (Glauber Rocha, 1980)
Índia, a Filha do Sol [India, Daughter of the Sun] (Fábio Barreto, 1985)
Iracema (Vittorio Capellaro, 1917)
Iracema (Vittorio Cardineli, 1949)
Jivaro (Edward Ludwig, 1954) [made in USA]
Manaos (Alberto Vázquez Figueroa, 1978)
Palavra e Utopia [Word and Utopia] (Manoel de Oliveira, 2000) [based on life of Antônio Vieira]
Sermões: A História de Antônio Vieira (Júlio Bressane, 1989)
Taina Kan: La gran estrella (Adriana Figuereido, 2007, 30 min.)
Esta leyenda cuenta la historia de los orígenes de la agricultura Karaja, como regalo de
Taina Kan, quien baja a la tierra en forma de hombre.
Ubirajara (Luiz de Barros, 1919) (based on novel by José de Aléncar)
Uirá, um índio em busca de Deus [Uira, An Indian in Search of God] (Gustavo Dahl,
1973)
SHORT FILMS:
Paulo Verissimo, 1979, 12 min.
Aimbere, líder tupinambo del siglo XVI, regresa a su lugar de origen 4
siglos después y se encuentra con una convulsionada ciudad.
Robert Nixon, 1989, 12 min, in English.
A Kayapo community see their lands being destroyed by white men. They travel to Altamira
to participate in the Encuentro de las Naciones Indígenas de Xingu, the historic Meeting
of Indigenous Nations.
Película ficcionada que narra la historia de un niño kayapó y su comunidad, quienes
enfrentan la destrucción de sus tierras. Ante esta situación deciden viajar hasta Altamira,
donde se celebra un encuentro de naciones indígenas, para denunciar lo que sucede en su
territorio.
Joan Salvat, 1986, 30 min.
En primer lugar fue la tierra. De la tierra nació Omán, que fue el primer hombre. Nadie
hacía compañía a Omán. Por eso cogió una espuma oscura y con ella creó a los yanomami. De
una espuma más clara creó a los hombres blancos. Después Omán repartió a los hombres por
el mundo y les dio tierras. La mejor de todas fue para los yanomami.
Renato Neiva Moreire, 1979, 22 min.
Los indios y animales se enfrentan, en la selva amazónica, a los invasores de sus tierras.
John Sandberg, Jan Peterson, 1989, 54 min., English.
A history of the Tukano people, from their first contact with Europeans to the exploitation
of gold in their land.
El film hace un recorrido por la historia del pueblo tukano, desde los primeros contactos
con la población "blanca" hasta que comenzó la explotación de oro en su territorio. Ante
esta situación los tukano tuvieron que ingeniárselas para controlar tanto a los mineros
como al proceso de explotación de oro.
Sérgio Bianchi, 1983, 55 min.
El docudrama analiza el problema de los indios de la reserva Mangueirinha al sudeste de
Paraná en un tono abierto e irónico. Su lenguaje innovador sorprendió a muchos, marcando
un hito en la cinematografía brasilera de los años 80. Basado en el texto Paraná Nativo
de Jaco Cesar Piccoli.
João Luiz Araujo, 1991, 30 min.
En un esfuerzo por implementar programas de desarrollo autogestionario y conservacionista,
una comunidad kayapó instaló en su territorio una pequeña industria, con el objetivo de
extraer y procesar, comercialmente, el aceite de la nuez de Paró.
Dominique Gallois & Vincent Carelli, 1998, 37 min.
In Portugese, Spanish and Waiapi.
Nos muestra cuatro fábulas sobre monstruos caníbales, narradas
e interpretadas por los indígenas waiapi de la aldea de Taitetuwá.
Incluye: Kanha Makuí (O segredo do invisivel), Akukusia (O dono da caça),
Anhá Tapirae (A flecha mágica do canibal) y Anerao (O morcego canibal).
John Paul Davidson, 1990, English, 50 min.
Los mitos son la llave para entender el universo social y moral de los waura. Aruta
cuenta una vez más el mito del espíritu del caimán, mientras que otros miembros de la
comunidad teatralizan la narración, espontáneamente, frente a la cámara.
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