A few environmental documentary films begin completely urgently “Jawin”. Even fewer political excitement with contemplative visual poetry, but the Austrian director Richard Ladakani surrounds this balance with his hand in his intimate standing in Juma Xiapaia, a brave indigenous active in Brazil and the first woman to elect a president in the Amazon Central Xingu region.
A fierce character is usually presented with tribal face coating and feathers, and JUMA is presented through archive news clips from 2009, where the smiling teenager adheres to but the strong of the original case, claiming that she is ready to die for its people. Six assassination attempts at a later time, the adult leader now appears during the 2021 demonstration outside the Palace of the National Congress in Brazilia, which turns into violence when the riot police opens to the demonstrators. Juma and the camera alike near the chaos to see a cloudy muzzle. This is just one of the many scenes in “Yanuni” that you really feel dangerous to tell.
The moments of terrorism in the imposition of storms are brilliantly contradicted with the serenity of forest lands. The camera not only depicts this natural beauty, but it becomes one practical with it, as it rises above the trees alongside the herds of birds and forms them among the insects as it glows in the lighting curtains through gentle leaves. Talking about people connecting to the ground one is one. To make your audience feel completely last, and Ladkani seems to take his cinematic signs from Juma’s ads about this deep spiritual dynamic.
While the film follows the young leader from her urban political gatherings to her rural village (alongside her little son), the sound tape is surrounded by calming rhythms. However, this is also the immersion of the destroyed drilling sites that turn on the ground and pollute water with mercury in search of gold. All the time, Juma and her active colleagues stand firmly and get a political ground, but this leads to its own complications. The defeat of President Gere Bolsonaro in 2022, as well as the election of Luiz Inosio Lula da Silva, gives symbolic victories for indigenous people, including the appointment of Juma as a newly created position, which seems to be a near and natural conclusion for “Yumini”. However, the story has just started.
The following is among the most traditional dramatic films of real events, dictionary with romance, political conspiracies, and even military action. You may usually feel a waiver of discussing harsh facts in such terminology about films and heaviness, but “Yumin” is not something if not a cinematic in its depiction. While Juma exceeds a political maze, she was forced at the expense of becoming a headquarters in the machine that she once fought. Meanwhile, her new Hugo (whose son is wonderfully fond) is accused of leading armed desires on behalf of Ebama, the Environmental Protection Agency in Brazil. Its goal is to explore and target illegal mining clothes throughout the Amazon, which Ladkani picks up like the imposition of sea monsters that appear on the horizon. The camera follows, all the time, these heroic military teams along the dangerous operations, which are inevitably with Hugo and his comrades put drilling equipment and temporary homes – at the risk of not teaching them to their loved ones.
It is difficult not to feel overwhelmed by “Yanuni” despite its hateful theme – especially when it effectively increases the traditional language of military cinema. High -tech mercenaries, such as Hugo, are “good men” unambiguously. Their violence aims to more devastating machines than the pirates they occupy. Likewise, the upper shots of the smoke columns that have long been rising from the forest were symbols of destruction in the movie, but here, because they stem from the drilling and bulldozers platforms, they represent a re -re -. Unlike the war films where the wife of a soldier sits at home hard, waiting for his return, she believes that Juma is leading her vital battles on the legislative front lines, in the story of a political disappointment that forces her to pave a completely new path.
“Yanuni” begins flashes of violence resulting from the original tribes, but it gradually restores violent images through an anti -colonial lens. In this process, it picks up a revolutionary, understanding spirit, but it constitutes these concepts in nature’s poetry, through some of the most exciting landscapes, this aspect of Ron Frek and Jadvry Regio. It is a type of films that deserve huge paintings like IMAX the full frame or the Las Vegas field, but its final goals are emotionally intimate. Her policies are completely rooted in the perspective of her prominent husband, which makes her abstraction altruistic – such as the care of the land and the environment in general – from protecting the people we keep.