50 •Metro Magazine 195 | © ATOM
Down and out in Bolivia
Considering this is a true story – or, at least, claims to be
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in the way that stories of this sort usually are – it’s a struggle
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tions of a similar vein like3GD +NRS "HSX NE 9 -DPHV *UD\
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(Werner Herzog, 1982) have obvious colonialist themes at
their centre,)TMFKDcan’t claim any such political intrigue. If
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standing – and the destructiveness of Western cultures’
brutish need to conquer for no reason other than because
it’s possible. Assuming this message is even meant to be
there at all, it’s easy to miss it entirely.
)TMFKDwould have been an altogether more interest
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'@QQNVHMF 3QTD 2SNQX NE 2TQUHU@K, instead using its tale of
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pointment. In particular,)TMFKDnever draws a connection
between Yossi’s desire to run away from the obligations
of career and family, and the displacement of his own kin.
While the image of Yossi, emaciated and smeared in mud,GHVSHUDWH IRU VXUYLYDO EULHĻ\ PDGH PH WKLQN RI LPDJHV RI
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interested in investigating any such comparisons.
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of political urgency in his6NKE "QDDJprojects, which so far
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as we enter a renewed age of “other” fearing’. Miraudo went
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^2But there’s no such polemical undercurrent running through
)TMFKD, which seems more concerned with cranial worms
and quicksand. There’s nothing wrong with depictions
such as these, of course, especially when the middle act
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tual spine to make its tale of survival rise above mere genre
thrills and good performances.There’s no such polemical undercurrent running throughJungle,
which seems more concerned with cranial worms and quicksand
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survival rise above mere genre thrills and good performances.