3星，作為歷史真實事件，還是值得看一看的，雖說是毒販黑幫，但只是小規(guī)模村民武裝械斗的規(guī)模。而且刁民格局太小，竟然是褲襠捂不住造成了災禍，最后被外來的雇傭兵撿了大便宜。上演了一幕悲劇，讓人印象深刻的是南美人民結婚也要找媒人，還要給彩禮，而且份額很是不少啊，突然覺得很有親切感，符合咱們國情。 影片缺點是南美片風格明顯， 節(jié)奏慢悠悠，還喜歡用寓意。

緣起大概是人類最本初的欲望，男女之情欲，宿命則是男主好像一直都心知肚明的。看完感覺很沉浸，是一種排除了一切干擾的沉浸體驗。配樂和詩歌很不錯。想起十幾年前看的教父三部曲，真是“前已有的后必再有，前已行過的后必再行，太陽之下并無新事?！比祟悘臍v史中得到的唯一教訓就是人類從不吸取教訓。

《候鳥》的海報上，一個拿著槍支的男人被紅布包裹著著頭顱。這片血紅色被風吹起，猶如女人般揚起裙角，蕩漾在空中。男人的面部凹陷下去，像是躲在紅布后的骷髏，獨自守候。

作為《蛇之擁抱》導演西羅·格拉的新作，《候鳥》選址在哥倫比亞北部的沙漠上。不同于前作浸潤在熒幕上的水與叢林，這部電影似乎在影廳里掀起一場沙暴。影片分為五個章節(jié)：野草，墳墓，繁榮，戰(zhàn)爭，地獄邊緣。自內(nèi)，影片通過交待瓦尤人的婚姻及對待家族的觀念，引出其排斥外族人的態(tài)度，講述瓦尤人這一族人的尊嚴與傳統(tǒng)；自外，好似《美國往事》般講述主人公拉法耶與好友莫伊斯做起大麻生意后的個人變化。拉法耶保守謹慎，莫伊斯狂妄自大。緊接著，狂妄者拿起手槍，沾上了美國生意伙伴與拉法耶堂兄的鮮血。拉法耶不得不遵循家族的意見，槍殺了自己的好友。另外一邊，拉法耶妻子Zaida的弟弟屢屢玷污外族人的女兒，繼而引起兩個族群的戰(zhàn)爭。

電影開篇，Zaida在閉關一年后迎接成人禮。在眾人包裹的圓圈之中，Zaida身穿一襲紅色，光腳掀起沙塵。她追趕發(fā)出挑戰(zhàn)的男人，而男人在其緊追下不斷后退。此時被風兜起的紅色裙角，猶如《電影人》中身穿紅色衣裙，與構思翩翩起舞的編劇。

延續(xù)上部作品的內(nèi)核，片中Zaida可與夢對話。Zaida曾夢到自己的丈夫與其死去的堂兄一同出現(xiàn)。二人被布蒙住頭顱。與海報不同的是，此時一人的遮頭布變?yōu)榘咨?。如果說此前象征著鮮血與戰(zhàn)爭，那么此時的白色，便是戰(zhàn)后的喘息，或稱之為，屬于亡人的寧靜。在接下來的夢中，Zaida夢見自己正在墜落，而這墜落正是其家庭的命運寓言，猶如死藤之水般昭告。

在《蛇之擁抱》中，導演通過蛇的意象喚醒整個森林，蜿蜒的河流亦是蛇的身軀。而后，作為象征整個亞馬遜流域文明的蛇被豹銜食，寓意著傳統(tǒng)與外來文明之間的碰撞，甚至死亡。同樣，《候鳥》中，在拉法耶槍殺了朋友莫伊斯后，他不斷在房間里看到一種有著細長腿骨的鳥。當它細長的足尖觸碰到地毯上，能讓人猜測到其上半身的纖長與孤傲。如同瓦尤人的自尊，一旦傳統(tǒng)被打破，隨之而來的就是仇恨與災難。

片中多次出現(xiàn)Zaida母親的寓言，不同的鳥類代表著不同的寓意，像是一個與夢對話的預言家，掌控著辟邪珠，可祈求神靈的庇護。但正是這一傳統(tǒng)的代表者，在女兒一家逃亡后，用暴力將逃亡的親人找回，如同囚禁般拴在自己身邊。使得復仇者來臨時家族破滅，活命的只剩自己，以及在后面輾轉淪為牧羊人的孫女。

在前作基礎之上，很多觀影者對本片的內(nèi)容、甚至敘事結構方面會有一定的審美期待。但本部影片其實并不存在所謂的時空關系。拋開頭尾的牧羊人，影片完全可以稱作是一場線性敘事。于是在這兩者基礎之上，很容易造成“毒梟發(fā)家史”的故事導向，而這一導向常常將觀者引領至商業(yè)片的領域。其次，本片在配樂上，更多了些來自社會的質(zhì)音。在器樂上，導演選擇了這一地區(qū)特有的演奏方式。當器樂發(fā)聲之時，能感受到整個影廳的震動。像是鳴笛般直抵雙耳，又好似陶勛般悠長。這一與自然不切合卻又出挑的樂器，在整個荒漠之中站立，似乎是亡靈以旁觀者的身份去演奏、去觀看整個沙漠的人類史。同樣，在影片中，拉法耶也是這一特征的擁有者。他不停地面臨選擇。家族還是外族，留下還是逃亡。逐漸地，拉法耶這一人物演變?yōu)橐环N特定的形象。他不同于迷信的岳母，保守且強硬。同時，他又不同于自己的朋友般激進狂妄。自始至終，他始終以中間人的身份出現(xiàn)。創(chuàng)造契機，解決矛盾。這可能也是導演對待原始與未來的一種中立。在最后，復仇者尋他，想要知道Zaida弟弟的下落時。拉法耶最后一次表明自己的態(tài)度，而后隨著槍聲倒地。當然，在死前，那只鳥依舊跟隨著他。

一定意義上來說，影片故事融匯在牧羊人的歌聲之中，在歌聲中展開，又在歌聲中結束。牧羊人歌聲中的故事來自于現(xiàn)在不屬于任何族群、又無任何信仰的小女孩，也就是這一家庭唯一幸存的后代之人。在這片滿是夏天的土地上，野草不斷生長，族群不斷繁衍?？此朴鷣碛⒌木车?，終抵不過時而飛來的蝗蟲風暴。在黃沙之中，它們?nèi)缛琮埦盹L般吞噬著這片領域的水土與居民。但終究無死寂之地。在屏幕暗下之時，耳邊響起的是不絕的雨聲。這像是導演對未來與傳統(tǒng)的思考，破壞、顛覆、死亡，乃至重生。歷史呈現(xiàn)在牧羊人的歌聲之中，好似夏天的風被吹散。

（原文刊登：看電影看到死）

兩位導演中的女導演對于好萊塢過于娛樂消費南美——尤其是哥倫比亞——販毒故事，于是他們決定要講一個同樣的故事，不過是從另外一個視角。

《教父》/《疤面煞星》+《百年孤獨》，嗯，光是聽上去就很不錯！

《蛇之擁抱》的超感體驗在這部《候鳥》里幾乎無跡可尋，但仍然留有余燼。很喜歡幾個夢的畫面，迷失，兇兆，所有那些即將消失的千年。

用好萊塢的傳統(tǒng)敘事結構，講述一個好萊塢觀眾們熟悉的——其實更準確說，應該是古希臘式的悲劇——“套路”故事。這樣的危險之中，幸虧兩位導演摒棄了好萊塢套路。比如用零暴力鏡頭來展現(xiàn)最極端的暴力，槍舉起，有時有聲，有時甚至連聲音都沒有，下一個畫面是橫尸遍野。

傳統(tǒng)的消失，消逝，和被吞噬，在工業(yè)革命之后、資本主義確立的全球化語境下，基本是注定的。古老的歌謠成為獵奇的藝術，世世代代謹守的原則和信條在幾摞紙鈔面前不堪一擊，預言沒人聆聽，曾經(jīng)是人類輝煌的文明變成就像毒梟在沙漠中蓋起的摩登別墅，格格不入、魔幻，被金錢、貪念和欲望瞬間毀滅。

候鳥，既是對于土著族人來說重要的鳥類，又是毒販往返于哥倫比亞和美國的航線——和候鳥的遷徙路線一樣。

在影片的最后，男主角在面對來索命的仇敵說，我們早就死了。這片土地或許也是，在被剝削被壓榨被同化被拋棄的時代洪流中，依舊掙扎著穿過歷史的鬼魂，絕望地不知去向何處。

在《蛇之擁抱》中，女主創(chuàng)Cristina Gallego擔任制片人，導演是Ciro Guerra；兩人合作的第二部電影，Cristina參與度更高，和Ciro一起做了導演（Cristina在接受采訪時說自己主要負責故事本身，Ciro更多的精力是花在研究如何講故事上）。

《候鳥》的構思誕生于《蛇之擁抱》之前，在《蛇》大獲成功之后，《候鳥》擁有了更廣闊的實現(xiàn)的可能性。

可惜，這對情侶在拍攝此片的中途宣告分手。

#2019北影節(jié)#

【臺北金馬影展觀影】今年戛納電影節(jié)“導演雙周”單元開幕片。這位哥倫比亞導演上一部作品《蛇之擁抱》好評如潮，據(jù)說是一部風格濃烈的作者電影，可惜我還沒欣賞過。我印象中的哥倫比亞是一個罪惡與毒品泛濫的國度，不出意料地，這部作品果然出現(xiàn)了這兩個刻板印象的內(nèi)容。事實上這是一個狗血的復仇題材，導演采用章節(jié)分段敘述出70年代哥倫比亞一個土著家族鋌而走險，依靠大麻生意發(fā)跡的故事。之后遭遇合作伙伴的背叛而導致一系列幫派廝殺而家族滅門的悲劇收場。感覺商業(yè)類型片的痕跡過于明顯，反而沒能彰顯出導演特有的作者風格。開頭的男女求偶舞蹈、預言家等富有民俗內(nèi)涵的陌生情節(jié)渲染出淡淡的神秘主義與宿命色彩，而當?shù)夭柯涞恼Z言和生存哲學，甚至殖民主義的話題都在片中有所涉及，卻只能在高度戲劇化的敘事里蜻蜓點水般略過，沒能深入挖掘闡述這些話題有點可惜。不過拍成如此的商業(yè)片，一方面顯示出導演對類型片掌控的嫻熟程度，似乎也能引起更多觀眾對哥倫比亞這個國家的關注。

| Godfrey Cheshire

February 12, 2019 |

When Cristina Gallego and Ciro 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 (Carmi?a 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 are very tradition-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 and Leonardo 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 by Maria Camila Arias and 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.

此影評的譯文可以登錄火星譯客網(wǎng)站查看，如有翻譯不準確之處，望請指出，謝謝！

譯員：賣女孩的小火柴。

校對： Thibault