Eugene weekly. (Eugene, Oregon) 1993-current, March 24, 2016, Page 21, Image 21

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    MOVIES
BY RICK LEVIN
HEARTS OF DARKNESS
Colonial visions of sickness and healing in Ciro
Guerra’s stunning Embrace of the Serpent
S
hot in lavish black-and-white, Embrace of the
Serpent drops you immediately into the humid
nightmare of colonial devastation. A lone
shaman, Karamakate (Nilbio Torres), squats
silently on the banks of the Amazon River in the
Colombian jungle. A canoe approaches, carrying a
Colombian guide, Manduca (Yauenkü Miguee), and Theo
(Jan Bijvoet), a German anthropologist dying of an
unspecified disease.
The year is 1911. The Colombian countryside and its
inhabitants have been ravaged by the international rubber
trade. Karamakate is the last remaining member of his
tribe. Manduca, who the shaman considers a caboclo — a
derogatory term for natives who work for invading white
men — begs Karamakate to heal Theo with yakruna, a
hallucinogenic vine that grows, ironically enough, near the
rubber tree.
Karamakate reluctantly agrees, commencing a journey
that is not only a physical trek up the Amazon but a
spiritual odyssey as well, investigating, with unwavering
humanity, the complex consequences of colonialism.
Directed by Colombian-born Ciro Guerra, Embrace of
the Serpent borrows heavily from past works on
colonialism, most notably Werner Herzog’s feverish film
Fitzcarraldo and especially Joseph Conrad’s Heart of
Darkness, where the end game of conquest is chillingly
expressed in the dying breath of the fictional monster
Colonel Kurtz: “The horror, the horror.”
What makes this film so extraordinary is that — unlike
Conrad’s complicit tales of colonial madness, where the
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indigenous inhabitants remain cloaked in racist
incomprehension — this film humanizes everyone
involved, giving a full, three-dimensional portrait not only
of the whites but of the natives as well, whose perspective
of a world being drained of its dreams fuels the narrative.
Karamakate, ever suspicious of the colonialists, nonetheless
realizes that, unless he can help them heal (in the
profoundest sense of the word), we are all doomed.
At the heart of the movie is the native concept of the
chullachaqui — a hollow copy of a human who roams the
Amazon as a trickster. As the film jumps back and forth in
time, we meet the aged Karamakate (Antonio Bolívar
Salvador), who fears he himself has become a chullachaqui.
Robbed of his dreams and his memories, Karamakate
attempts to help an American anthropologist, Evan
(Brionne Davis), find the sacred yakruna plant.
In this way, the message of the film is complicated, and
made universal. Whatever the causes and effects of
colonialism, the healing must be across the board. The
time of condemnation and hand-wringing is over,
Karamakate comes to understand; to wage war against the
whites is to lose every time. Instead, as the old shaman
seeks to recapture his own sense of being, he realizes the
inner ignition of the dream must be everyone’s journey,
including those well-intentioned anthropologists with their
burdensome luggage (both figurative and literal) and the
fancy stories they will bring home.
Yes, Kurtz’s “horror” is on full display in Embrace of
the Serpent, including an almost unbearable passage of
torture and cannibalism at a Christian mission deep in the
Colombian jungle. But the answer to that horror is not, as
Kurtz apocalyptically suggested, to “exterminate the
brutes.” Instead, this film locates the sickness as something
inside us all, and provides an antidote that is no less
revolutionary for being utterly timeless: Stop being a
chullachaqui, and reawaken the dream. (Broadway Metro)
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eugeneweekly.com • March 24, 2016
21