【台北金马影展观影】今年戛纳电影节“导演双周”单元开幕片。这位哥伦比亚导演上一部作品《蛇之拥抱》好评如潮，据说是一部风格浓烈的作者电影，可惜我还没欣赏过。我印象中的哥伦比亚是一个罪恶与毒品泛滥的国度，不出意料地，这部作品果然出现了这两个刻板印象的内容。事实上这是一个狗血的复仇题材，导演采用章节分段叙述出70年代哥伦比亚一个土著家族铤而走险，依靠大麻生意发迹的故事。之后遭遇合作伙伴的背叛而导致一系列帮派厮杀而家族灭门的悲剧收场。感觉商业类型片的痕迹过于明显，反而没能彰显出导演特有的作者风格。开头的男女求偶舞蹈、预言家等富有民俗内涵的陌生情节渲染出淡淡的神秘主义与宿命色彩，而当地部落的语言和生存哲学，甚至殖民主义的话题都在片中有所涉及，却只能在高度戏剧化的叙事里蜻蜓点水般略过，没能深入挖掘阐述这些话题有点可惜。不过拍成如此的商业片，一方面显示出导演对类型片掌控的娴熟程度，似乎也能引起更多观众对哥伦比亚这个国家的关注。

绝大多数情况下，豆瓣7分以下的电影是根本不值得看的。但因为"蛇之拥抱"，冲着克丽丝蒂娜，还有Imdb7.6分的评分，还是看了。 看到一半，就开始纠结还要不要继续看下去。这仅仅只是一部象‘‘蛇’’，而又不及‘蛇’的电影。叙事平直，表演僵硬，画面美感不足。豆瓣6.5分是中肯的，属于准烂片之列。 电影之外，倒是有些联想。 拉帕耶岳母娘的高要求造就了一个毒枭的雄起，他面对嫁妆要求，要么放弃婚姻，要么挺而走险。庆幸的是，他在岳母娘的逼迫下成功了。然而不幸的是，虽然身体得到了美女，灵魂却下了地狱。 更可悲的是，现实社会中还有很多个准岳母娘在做着拉岳母娘同样的事，她们正把拉帕耶的国际弟兄们，要么逼向追求无限物欲的疯狂，要么逼往无尽悲哀的泥塘。

缘起大概是人类最本初的欲望，男女之情欲，宿命则是男主好像一直都心知肚明的。看完感觉很沉浸，是一种排除了一切干扰的沉浸体验。配乐和诗歌很不错。想起十几年前看的教父三部曲，真是“前已有的后必再有，前已行过的后必再行，太阳之下并无新事。”人类从历史中得到的唯一教训就是人类从不吸取教训。

| Godfrey Cheshire

February 12, 2019 |

WhenCristina GallegoandCiro Guerra’s gripping, brilliantly mounted drama “Birds of Passage” (Spanish title: “Pájaros de Verano”) opens, we could almost be watching an ethnographic documentary. It’s the late 1960s and we’re observing a family from the indigenous Wayúu people in a remote, arid stretch of northern Colombia. A girl named Zaida (Natalia Reyes) has just completed her ritual period of isolation and her people are celebrating her emergence, which symbolizes her readiness for marriage. And that prospect looms up almost immediately with the announcement by Rapayet (José Acosta), a handsome guy from a neighboring family, that he wants her as his wife.

Zaida’s mother, Ursula (Carmiña Martínez), this family’s very imposing matriarch, seems suspicious of Rapayet as soon as makes his intentions known. She decrees a dowry that she seems to assume is way beyond the man’s means; it includes scores of goats and cows – the mainstays of Wayúu subsistence – as well as some valuable necklaces. It’s not long, though, before he returns with all the dowry items in tow. The way he enriched himself enough to afford his pretty and pricey bride is where the film’s crime story begins.

Much later in the tale, a woman from another Wayúu family notes that over the centuries her people have fended off pirates, the English, the Spanish and various Colombian governments trying to control them. They areverytradition-bound folks; they believe in ghosts, magic talismans and communications with the dead, and their paramount value is honor. Yet by the time the remark about their history is made, it carries a bitter irony, because the Wayúus’ way of life has been upended by a new enemy: lust after the riches that come from dealing marijuana.

Rapayet’s entry to the business happens when he overhears a shop owner say that some young, long-haired Peace Corps volunteers, who are in Colombia to combat the threat of Communism, are looking for some pot. Rapayet and his best friend, a high-spirited black guy named Moisés (Jhon Narváez), know a source up in the mountains, and soon they are making huge wads of cash delivering big bales of the weed to gringo drug runners who fly and in out on small planes.

But the operation doesn’t run smoothly for long. One day, the hot-tempered Moisés thinks he sees evidence that the gringos are betraying them by also dealing with some of their competitors, so he whips out a pistol and kills two of them. The murders are anathema to the Wayúu, and Rapayet’s family demands he execute Moisés.

“Birds of Passage” is based on actual events from the 1960s-'80s and is told in four roughly half-hour chapters, followed by a short epilogue. Co-directors Gallegos and Guerra previously made the Oscar-nominated “Embrace of the Serpent” (she produced and he directed), which depicts the interaction over several decades between indigenous people, including a formidable shaman, and Europeans. Although reviewers used the term “psychedelic” to describe that film’s imaginative style, it examined important issues in Colombian cultural history from an informed and committed Colombian perspective.

“Birds of Passage” does much the same. Its subject is the “Bonanza Marimbera,” the era when people in the Guajira region of northern Colombia – both Wayúu and others – became involved in drug smuggling, which in subsequent decades would be the source of much domestic trouble and international infamy for Colombia, and also, more lately, fodder for big-budget entertainments made mostly by non-Colombians. In interviews, Gallego and Guerra have rightly questioned the “exploitative” nature of shows like “Narcos” that offer glorifying portraits of mass murderers like Pablo Escobar.

Their film also concerns the drug trade, reaching back to its modern origins, and it deals with the violence that destroyed many lives, families and communities. Yet it skirts Hollywood-style sensationalism in several ways. For one, the filmmakers generally avoid direct, up-close depictions of violence. Sometimes we see only its results: bloody bodies lying in the middle of a road, for example. And in the story’s final act, when two families engage in a war with military-scale manpower and weapons, we see the confrontation mainly in a single searing long shot.

Gallego and Guerra also humanize their characters via their efforts to portray their culture accurately. The actors who play Rapayet, Ursula and Zaida, professionals who do excellent work, are surrounded by faces that clearly belong to this place; the filmmakers also made their crew 30 percent Wayúu to help assure the authenticity of the film’s details. And the sense that the portrayal of this community is exacting as well as flavorful comes not only from the documentary-like visual approach andLeonardo Heiblum’s evocative score, but also in the story’s elements of magical realism, which of course reflects the influence of Gabriel García Márquez, whose maternal family was Wayúu and whose “One Hundred Years of Solitude” includes numerous Wayúu influences.

Those literary elements are skillfully woven into the script byMaria Camila Ariasand Jacques Toulemonde, which starts off in a world that may be poor and disadvantaged in many ways but that also has traditions of sustaining simplicity and integrity. The screenwriters’ way of describing this world’s fall from grace due to the lures of money and luxury has the power and inevitability of classic tragedy. It could be Greek or Shakespearean, though it is palpably modern and Colombian.

此影评的译文可以登录火星译客网站查看，如有翻译不准确之处，望请指出，谢谢！

译员：卖女孩的小火柴。

校对： Thibault

3星，作为历史真实事件，还是值得看一看的，虽说是毒贩黑帮，但只是小规模村民武装械斗的规模。而且刁民格局太小，竟然是裤裆捂不住造成了灾祸，最后被外来的雇佣兵捡了大便宜。上演了一幕悲剧，让人印象深刻的是南美人民结婚也要找媒人，还要给彩礼，而且份额很是不少啊，突然觉得很有亲切感，符合咱们国情。 影片缺点是南美片风格明显， 节奏慢悠悠，还喜欢用寓意。

《候鸟》的海报上，一个拿着枪支的男人被红布包裹着着头颅。这片血红色被风吹起，犹如女人般扬起裙角，荡漾在空中。男人的面部凹陷下去，像是躲在红布后的骷髅，独自守候。

作为《蛇之拥抱》导演西罗·格拉的新作，《候鸟》选址在哥伦比亚北部的沙漠上。不同于前作浸润在荧幕上的水与丛林，这部电影似乎在影厅里掀起一场沙暴。影片分为五个章节：野草，坟墓，繁荣，战争，地狱边缘。自内，影片通过交待瓦尤人的婚姻及对待家族的观念，引出其排斥外族人的态度，讲述瓦尤人这一族人的尊严与传统；自外，好似《美国往事》般讲述主人公拉法耶与好友莫伊斯做起大麻生意后的个人变化。拉法耶保守谨慎，莫伊斯狂妄自大。紧接着，狂妄者拿起手枪，沾上了美国生意伙伴与拉法耶堂兄的鲜血。拉法耶不得不遵循家族的意见，枪杀了自己的好友。另外一边，拉法耶妻子Zaida的弟弟屡屡玷污外族人的女儿，继而引起两个族群的战争。

电影开篇，Zaida在闭关一年后迎接成人礼。在众人包裹的圆圈之中，Zaida身穿一袭红色，光脚掀起沙尘。她追赶发出挑战的男人，而男人在其紧追下不断后退。此时被风兜起的红色裙角，犹如《电影人》中身穿红色衣裙，与构思翩翩起舞的编剧。

延续上部作品的内核，片中Zaida可与梦对话。Zaida曾梦到自己的丈夫与其死去的堂兄一同出现。二人被布蒙住头颅。与海报不同的是，此时一人的遮头布变为白色。如果说此前象征着鲜血与战争，那么此时的白色，便是战后的喘息，或称之为，属于亡人的宁静。在接下来的梦中，Zaida梦见自己正在坠落，而这坠落正是其家庭的命运寓言，犹如死藤之水般昭告。

在《蛇之拥抱》中，导演通过蛇的意象唤醒整个森林，蜿蜒的河流亦是蛇的身躯。而后，作为象征整个亚马逊流域文明的蛇被豹衔食，寓意着传统与外来文明之间的碰撞，甚至死亡。同样，《候鸟》中，在拉法耶枪杀了朋友莫伊斯后，他不断在房间里看到一种有着细长腿骨的鸟。当它细长的足尖触碰到地毯上，能让人猜测到其上半身的纤长与孤傲。如同瓦尤人的自尊，一旦传统被打破，随之而来的就是仇恨与灾难。

片中多次出现Zaida母亲的寓言，不同的鸟类代表着不同的寓意，像是一个与梦对话的预言家，掌控着辟邪珠，可祈求神灵的庇护。但正是这一传统的代表者，在女儿一家逃亡后，用暴力将逃亡的亲人找回，如同囚禁般拴在自己身边。使得复仇者来临时家族破灭，活命的只剩自己，以及在后面辗转沦为牧羊人的孙女。

在前作基础之上，很多观影者对本片的内容、甚至叙事结构方面会有一定的审美期待。但本部影片其实并不存在所谓的时空关系。抛开头尾的牧羊人，影片完全可以称作是一场线性叙事。于是在这两者基础之上，很容易造成“毒枭发家史”的故事导向，而这一导向常常将观者引领至商业片的领域。其次，本片在配乐上，更多了些来自社会的质音。在器乐上，导演选择了这一地区特有的演奏方式。当器乐发声之时，能感受到整个影厅的震动。像是鸣笛般直抵双耳，又好似陶勋般悠长。这一与自然不切合却又出挑的乐器，在整个荒漠之中站立，似乎是亡灵以旁观者的身份去演奏、去观看整个沙漠的人类史。同样，在影片中，拉法耶也是这一特征的拥有者。他不停地面临选择。家族还是外族，留下还是逃亡。逐渐地，拉法耶这一人物演变为一种特定的形象。他不同于迷信的岳母，保守且强硬。同时，他又不同于自己的朋友般激进狂妄。自始至终，他始终以中间人的身份出现。创造契机，解决矛盾。这可能也是导演对待原始与未来的一种中立。在最后，复仇者寻他，想要知道Zaida弟弟的下落时。拉法耶最后一次表明自己的态度，而后随着枪声倒地。当然，在死前，那只鸟依旧跟随着他。

一定意义上来说，影片故事融汇在牧羊人的歌声之中，在歌声中展开，又在歌声中结束。牧羊人歌声中的故事来自于现在不属于任何族群、又无任何信仰的小女孩，也就是这一家庭唯一幸存的后代之人。在这片满是夏天的土地上，野草不断生长，族群不断繁衍。看似愈来愈盛的境地，终抵不过时而飞来的蝗虫风暴。在黄沙之中，它们如如龙卷风般吞噬着这片领域的水土与居民。但终究无死寂之地。在屏幕暗下之时，耳边响起的是不绝的雨声。这像是导演对未来与传统的思考，破坏、颠覆、死亡，乃至重生。历史呈现在牧羊人的歌声之中，好似夏天的风被吹散。

（原文刊登：看电影看到死）