‘Yana-Wara’ Review: Timely Tale of a Young Indigenous Woman Wronged Is Stunted by Its Performances

As a cinephile with over three decades of movie-watching under my belt, I’ve seen my fair share of films that leave a lasting impact – and “Yana-Wara” is one such film. The tragic tale of a young girl lost to the hands of evil, set against the stark backdrop of the Andean landscape, resonates deeply with me as a testament to human resilience in the face of adversity.

In 2017, Oscar Catacora’s film “Wiñaypacha” (“Eternity”), fully made in Aymara, the language of the Andean people, was launched. This marked the debut of a feature film produced entirely in this language. The movie, a poetic depiction of a world in flux, beautifully captured the harsh yet breathtaking landscapes it portrayed. It introduced the young Peruvian director-writer (who was barely 30) as a rising talent. Tragically, Catacora passed away in 2021, just as he started work on his next film, “Yana-Wara.” This production was eventually completed by his producing partner and uncle, Tito Catacora. The compelling story of justice within a small indigenous community doesn’t carry the raw poetic charm found in the earlier works of the younger Catacora.

The title “Yana-Wara” refers to its main character, a young orphan girl who tragically lost her life. It’s undeniable that her grandfather, Don Evaristo (portrayed by Cecilio Quispe Ch.), is responsible for her death. The issue at hand is not whether he committed the act, but rather if his actions were justified, punishable, and to what degree. This question is posed to a group of indigenous leaders who are determined to administer justice for the tragedy that occurred. They are presented with the heartbreaking tale of Yana-Wara, a girl who, according to Don Evaristo, was destined for a life of hardship had he not intervened.

Since the day she was born, Yana-Wara seemed to bear an unfortunate fate. Her mother passed away during childbirth, and her father perished later on, leaving her under the guardianship of Don Evaristo. This elderly man approached caring for the unusually quiet girl with caution, unsure of how best to nurture her. Eventually, he entrusts her education to a local school, hoping it would foster growth in her. However, he soon discovers that her teacher, Santiago (José D. Calisaya), exploits his role to mistreat her.

In the movie, Santiago blatantly abuses Yana-Wara within the classroom setting (a scene delicately filmed to spare viewers from witnessing the act itself off-screen). The silent and seemingly indifferent Yana-Wara, who appears even more emotionless than before, compels her community to grapple with Santiago’s transgression in a manner that may perplex North American spectators. However, this situation provides an opportunity for the film to depict the complex justice system of the Aymara people truthfully and candidly.

In the realm of the Aymara culture, “Yana-Wara” skillfully intertwines the enigmatic with the everyday. It transforms Don Evaristo’s narrative about his granddaughter into a tale of wrongdoing inflicted by humans and nature, by flawed institutions and intimidating spirits. Captured in monochrome by both Catacoras and Julio Gonzales F., the film is visually captivating. The rugged landscapes, towering mountains, and misty vistas create lasting impressions. In many ways, the film shines brightest when it allows its natural setting to speak for itself. The desolate Andean terrain, devoid of its usual greenery, is reimagined here as a haunting backdrop that at times gives “Yana-Wara” a chilling, horror-like quality, suggesting evil lurking not only in the caves but also in men’s covetous glances.

It’s possible that Yana-Wara was tormented by Anchanchu, a malevolent entity known to bring about endless sorrows (as Don Evaristo claims). Yet, it’s equally evident that she endured suffering at the hands of the men controlling her destiny. In the end, it was a man who cherished her, tragically ending her life, despite his belief in the mercy of his actions.

The ethical complexities presented in “Yana-Wara” could be more engaging and fully developed if the actors in the Catacoras’ film were more skilled. Similar to “Wynaypacha,” Oscar and Tito chose to work with non-professional actors, people from the community who undeniably added an air of authenticity to this grim tale. However, aside from Mamami’s performance which maintains a certain distance by providing enigmatic facial expressions, allowing both characters and viewers to interpret her actions as they please, most of the performances in this film feel stiff.

The acting throughout feels uneasy, with Calisaya struggling to convey the intricacies of his character as a violent and abusive teacher. This struggle detracts from the story’s intended impact, which is a fable-like exploration of conflicting notions of justice, agency, mercy, and fate; gender violence and the ongoing decisions men make about women’s lives. However, the complexities embedded in these themes – especially those related to Yana-Wara’s character – are seldom reflected in the performances, despite their apparent self-awareness.

It’s intriguing to ponder how “Yana-Wara” might have unfolded had the young Peruvian filmmaker been able to bring it to life. On paper, Catacora’s script is thought-provoking, posing challenging questions that bridge cultural divides in a deliberately unsettling manner. However, the completed film fails to fully meet these difficult questions it presents. The performance of its actors seems to have hindered the powerful portrayal of the Aymara people, making it more of a written provocation than an impactful moral story on screen.

2024-11-28 02:21

‘Yana-Wara’ Review: Timely Tale of a Young Indigenous Woman Wronged Is Stunted by Its Performances

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