As a devotee of cinema with a penchant for stories that delve deep into the human spirit and explore the complexities of our existence, I found “The Condor Daughter” to be an enthralling and thought-provoking masterpiece. The film’s focus on indigenous communities and the powerful women who anchor them resonated profoundly with me, as I too have always been drawn to stories that celebrate the resilience and wisdom of women.
As a movie reviewer, I’m thrilled to share my thoughts on “The Condor Daughter” (“La hija cóndor”), a profoundly personal work by Bolivian artist Álvaro Olmos Torrico. This film focuses on indigenous communities and the strong women who hold them together, making it a must-see for audiences at Ventana Sur’s Copia Final showcase this December 2-6. It’s an intimate glimpse into a world that I believe will resonate deeply with viewers, making it one of the most intriguing fiction productions at this year’s market.
Through Bolivia’s Empatia Cine (“The Visitor”), Olmos Torrico is producing the budding Bolivian director Yashira Jordán’s 2021 Ventana Sur buzz film “Diamond,” also known as “Diamante.” This project is in collaboration with Buenos Aires-based Maravilla Cine. Prior to his 2019 full-length debut feature “Wiñay,” Olmos Torrico has directed several documentaries, which have provided a platform for characters’ introspection to be translated into deep and engaging on-screen stories.
Olmos Torrico shared with EbMaster, “I find internal journeys incredibly inspiring, as they embody the ideal conflict for me. The depth of my characters mirrors my own sensitivity.” He ponders about the impact of individuals within the flow of time and space, often focusing on female characters, who are usually reminiscent of his mother. At their conclusion, these internal journeys frequently lead to remarkable growth and transformation, thus significant change. I am captivated by delving into these transformations and the pursuit of redemption.
The movie titled “The Condor Daughter” was created by Olmos Torrico at Empatia Cine and co-produced by Cecilia Sueiro and Diego Sarmiento Pagan from Peru’s Ayara Producciones, as well as Federico Moreira from Uruguay’s LaMayor Cine. The story revolves around a young midwife named Clara who resides in a secluded mountain village, utilizing her voice to comfort those in childbirth.
The growing burden of responsibility within the community, combined with an unquenchable curiosity typical of adolescence, encourages Clara to reflect deeply on life, a reflection that takes her away from her native heritage and the family who have significantly molded her, particularly Ana, a strong and steadfast maternal figure who has nurtured Clara and carries the wisdom of countless lives in every crease on her weathered face.
The expansive vistas of mountain ranges, captured through distorting lenses, reveal a colossal terrain that overshadows Clara, her friends, family, and aspirations. This grand landscape envelops the cast, underscoring the tranquil yet powerful influence of their Andean home over the community, demanding reverence and echoing the weighty roles of the female characters in the script – the significant impact they have on the village. In stark contrast, the camera frequently focuses on intimate settings that underscore Clara’s personal turmoil as she contemplates her future.
Olmos Torrico explains that in indigenous communities, the earth is often seen as a nurturing female figure, or ‘Pachamama’, who provides for and cares for us. He adds that midwives are considered messengers of this earth. For the Quechua people, motherhood and the earth are closely intertwined with time and agricultural cycles. I believe it’s essential to highlight this bond between women and the earth as it symbolizes the enduring ancestral traditions in Bolivia, which have remained strong even amidst hardship.
Music weaves through the storyline, blending ancient healing songs with contemporary Quechua pop hits, frequently broadcast from the second-hand radio that Clara received. This radio serves as a connection to the world beyond, and it’s the same music that will attract her towards the city, encouraging her to pursue a career as a singer.
Olmos Torrico shares his fascination with ‘chicha’ music, a unique blend of the contemporary and traditional. Remarkably, all the tunes in the movie originate from the 80s and 90s, but the Quechua youth seem to embrace it as if it were still trendy today. This is because time seems to flow differently amidst the mountains, unbound by popular trends. Olmos Torrico was drawn to the role of music in rural areas and appreciated the concept of showcasing its influence on the younger generation. ‘Chicha’ music (which includes cumbia, folklore, electronic music, among others) serves as a significant emblem of identity for indigenous communities, something they carry with them everywhere.
Clara’s being gone causes a whirlwind of destruction in the village, prompting the elders to send Ana to find her. This determined journey triggers more people leaving their land steeped in tradition, a theme that the director explores intensely as the story unfolds at the delicate crossroads between preserving ancestry and carving out a unique contemporary life, a recurring philosophical dilemma about existence.
Sueiro notes that indigenous communities in the Andes have fostered conditions for growth and strengthening their cultural identity by connecting with life, nature, and showing remarkable adaptability under challenging circumstances. While individual aspirations and needs have always been present, they often serve the collective good. As our world becomes more globalized and people are free to travel, learn, and explore, it would be beneficial to return to our roots and use these newfound knowledge to enrich traditional practices in a harmonious manner.
Over a six-year period, meticulous exploration of Quechua midwife communities by the team led to the creation of this film, serving as a sensitive examination of youth and their profound journey towards self-discovery. Sound in this context functions as a form of defiance, personal expression, healing balm for afflictions, and a resonant summons back home.
In this project, we mainly used local, non-professional actors along with a skilled crew hailing from Bolivia, Uruguay, and Peru. Iris Sigalit Ocampo Gil and Aniceto Arroyo are the executive producers of this production.
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2024-12-04 01:47