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EMBRACE OF THE SERPENT(EL ABRAZO DE LA SERPIENTE)

a Film by CIRO GUERRA

ARGENTINA, COLOMBIA, VENEZUELA / 2015 / 125 MINSpanish, Portuguese, German, Catalan, Latin, English, Wanano, Vicuna,

Huitoto and Cubeo with English subtitles

DISCOVERING

THE BEST OF

LATIN AMERICAN

AND SPANISH

CINEMA

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BACKGROUND INFORMATION

Before watching a foreign film, it is important to know the current events and history of the country where that film comes from. Find two or three articles on the history of indigenous people in Colombia and the pillaging of the Amazonian landscape by conquistadors, missionaries, and rubber barons. Consider this information from a colonial standpoint. Find more information about the Amazonian rubber boom and the impact it had in the region.

BEFORE WATCHING THE FILM:

INTRODUCING THE FILM

A film synopsis is a piece of text designed to summarize the film’s narrative, genre, style, and key participants in a way that appeals to a wide audience. The synopsis is part of the film marketing process and tends to follow traditional format. Read this official synopsis for Embrace of the Serpent:

A breathtaking ethnographic odyssey through the heart of the Colombian Amazon, Embrace of the Serpent is the epic story of the first contact, approach, betrayal and, eventually, friendship.The story depicts the relationship between Karamakate, an amazonian shaman, last survivor of his people, and two scientists that, over the course of 40 years, become the first men to trave the Northwest Amazon in search of a sacred and difficult- to-find psychedelic Yakruna plant. With nine different languages spoken during the course of the film, this hypnotic meditation on the beauty of nature and effects of colonialism is presented with an uncommon sense of curiosity rarely seen. The crisp black and white photography captures the extraordinary landscapes with a haunting, almost mythical sense of wonder, whilethe balance between documentary-style realismand dreamlike mysticism makes for a truly poetic cinematic experience.

❒ What connections can you make between the background information you found on the history of indigenous Amazonians, Colombia’s colonization, the Amazonian rubber boom with the synopsis of the film?

❒ From the film synopsis, can you imagine the genre and tone of the film? From this same text, try to identify the main elements from the film’s plot and historical background.

❒ How do the trailer, poster, and still images encourage you to watch the film?

❒ Can you make any assumptions regarding what the film is about just from the marketing materials (i.e. trailer, poster, and still images)?

2 STUDY GUIDE EMBRACE OF THE SERPENT © 2019 Pragda (EL ABRAZO DE LA SERPIENTE)

AFTER WATCHING THE FILM:


1 “Non-diegetic sound is sound whose origin is from outside the story world. Voice-overs are typically non-diegetic, since the narration does not appear in the film’s story

world. Usually, the music soundtrack of a film is non-diegetic.” Columbia Film Glossary, https://filmglossary.ccnmtl.columbia.edu/term/non-diegetic-sound/

CINEMATIC ART/TECHNIQUES

❒ Analyze the opening shot of the Amazon, the water reflecting the sky above. What does it convey? What themes are set up in the opening shot?

❒ Research the definition of “ethnography.” Do you think the film’s visuals look like ethnographic research? Why or why not?

❒ Why do you think the filmmakers decided to shoot the movie in black-and-white film stock? What feeling does the black-and-white convey to you? How could this decision be relevant to the film’s themes and narrative? Do you think this technique helps the audience question their usual ways of looking at a film?

❒ The journey into the jungle progressively exposes the characters to colonial atrocities. What cinematographic techniques did the filmmakers use to make this noticeable?

❒ Analyze the meticulous sound design of Embrace of the Serpent. What sounds are persistent throughout the movie? How does the sound design enhance the feeling that you’re in the Amazon?

❒ Try to think about two or three shots of the film that really spoke to you –– what about them is significant? Why do they stick out in your mind? Do you think the cinematography of the film would be as memorable if it were shot in digital color? Why or why not?

❒ Think about moments where the camera is handheld and moments where the camera is still –– what are the differences? What do you think leads the filmmakers to make the decision to use one camera style over the other one?

❒ Analyze the set and production design. Do you think the filmmakers did a good job depicting life in the Amazon? What were some of your favorite pieces of the set design? How do you think filming in nature affects a film’s set design, in positive ways and in negative ways?

❒ Diegetic and non-diegetic 1 music play a major role throughout the film. Select scene(s) that contain music and explain its use in the narrative: the emotions it produces for the audience and the tone that it creates. Think especially about the scene where Evan plays classical music to Karamakate through his vinyl player. To answer this question, consider the juxtaposition between the sounds of the jungle and modern music.


2 “Mise-en-scène...is used in film to refer to everything that goes into the composition of a shot--framing, movement of the camera and characters, lighting, set design and

the visual environment, and sound.” “Term Index.” The Columbia Film Language Glossary. https://filmglossary.ccnmtl.columbia.edu/term/

CINEMATIC ART/TECHNIQUES (continued)

❒ Think about the one and only scene in the film that has color –– Evan’s psychedelic dream sequence. What do you think this scene means? Why do you think the filmmakers decided to use color for this moment? What meaning can you draw from this superconscious experience? In which ways does the experience make Evan’s character development go full circle?

❒ Analyze the shots of nature in the movie. Why do you think the director chose to focus so many shots on the trees, the river, and jungle? How is nature thematically relevant to the movie? Consider the importance of the rubber-rich jungle from a mystical and monetary standpoint; each character treasures nature for different reasons. Cite two specific examples and analyze the mise-en-scéne 2.

❒ What do you think the shots of the serpent and the tiger mean? Do you think they happen in the same linear narrative as the story that’s told? Where do you think these scenes take place? Why do you think the filmmakers included them in the first place? There is no wrong answer.

❒ Why do you think the filmmakers end with real photographs of ethnographers interacting with indigenous communities? Take a close look at those photographs –– what parallel can you draw between them and the film you just saw? What do you think the filmmakers are trying to say here? Research the story that inspired the film to answer this question.

NARRATIVE

❒ Why do you think the filmmakers open with a quote from Theodor von Martius? How could this be relevant, knowing that von Martius is a completely fictional figure? In what ways does having a white man start the film symbolize colonialism and historical revisionism?

❒ In what ways are the two characters similar, and in what ways are they different? How are their storylines parallel to each other? Use two specific scenes as evidence for your answer.

❒ How would you describe the relationship between Manduca and Theo? Do you think it is unbalanced in power? Why or why not?

(continued on next page)

NARRATIVE (continued)

❒ Why do you think that both white men in the story –– Theo and Evan –– desire yakrua? In what ways is their desire for the rare plant parallel, in what ways is it different? Do you think they want yakrua because of its properties or do they desire to conquer?

❒ Why do you think Old Karamakate tells Evan that “he must lead the way”? Why do you think Old Karamakate omits telling Evan how to find the plant? Do you think Old Karamakate is attempting to spiritually guide Evan?

❒ Analyze and describe three reasons as to why Karamakate distrusts Europeans. In which ways has his life been affected by colonialism, from a personal to an environmental level?

❒ Consider the role of nature and its importance to Karamakate.

❒ In what ways is Karamakate a symbol of a deeper truth rather than a specific individual?

❒ When Old Karamakate looks at his younger self, Young Karamakate, through Evan’s history book, he describes himself in the picture as a“chullachaqui,” a native term for hollow spirit. Why do you think Old Karamate thinks about his younger self in this way? Moreover, in what ways has Old Karamakate changed from Young Karamakate? Look up the legend of the Chullachaqui to answer this question.

❒ How does the Amazon act as a force between the past and present? For example, whenever there is a jump in time throughout, the camera often pans to the river. How is the river connecting the two stories in time? How is the river a constant throughout time? How does water symbolize fluidity and continuity?

❒ When we first meet Karamakate, he’s living alone, deserted and outcast from the rest of his tribe. Why do you think this is? Why do you think Theo tells Karamakate that he’s a lonely, isolated madman? Why do you think Manduca says that Theo has done more for “their people” than Karamakate? Provide evidence or counter-evidence for Manduca’s assessment of Karamakate.

❒ Do you think Karamakate is justified in being so angry and isolated from the world? Why or why not?

❒ Why do you think Karamakate calls Manduca “caboclo”? Look up the etymology of the term “caboclo” to answer this question. What are the ideological differences between Karamakate and Manduca? Why does this set them apart?

❒ How do the traditions and values of Karamakate and Manduca come at the expense of Theo’s health and wellbeing? What do you think this says about the differences between the “Western world” and the “Eastern world”? And how does this add dramatic tension to the narrative?

(continued on next page)


NARRATIVE (continued)

❒ Both expeditions feature a Spanish Catholic Mission by the side of an Amazon tributary. How are both characters delusional? How do both characters deeply violate the native land and its people? How is this a critique of colonialism?

❒ Compare and contrast Karamakate’s relationship with Theo and Evan. How do these relationships develop over the course of the film?

❒ Why does Karamakate burn the last yakruna plant? Do you think he’s justified in doing so? Why or why not? Were his sacred knowledge and beliefs being disrespected?

❒ Why do you think Old Karamakate says to Evan, “I was meant to teach you”? How is the film about Karamakate instilling spirituality in white men? What cinematic technique do the directors use to illustrate Old Karamakate’s point? Think about how he looks directly at the camera.

❒ What do you think the last yakruna plant represents? How is its extinction closely associated with Karamakate’s tribe? Why does Karamakate give the last plant to a white man? How is Karamakate’s entire identity and existence closely tied to the plant?

❒ How does the Amazon act as a force between the past and present? For example, whenever there is a jump in time throughout, the camera often pans to the river. How is the river connecting the two stories in time? How is the river a constant throughout time? How does water symbolize fluidity and continuity?

❒ When we first meet Karamakate, he’s living alone, deserted and outcast from the rest of his tribe. Why do you think this is? Why do you think Theo tells Karamakate that he’s a lonely, isolated madman? Why do you think Manduca says that Theo has done more for “their people” than Karamakate? Provide evidence or counter-evidence for Manduca’s assessment of Karamakate.

❒ Do you think Karamakate is justified in being so angry and isolated from the world? Why or why not?

❒ Why do you think Karamakate calls Manduca “caboclo”? Look up the etymology of the term “caboclo” to answer this question. What are the ideological differences between Karamakate and Manduca? Why does this set them apart?

❒ How do the traditions and values of Karamakate and Manduca come at the expense of Theo’s health and wellbeing? What do you think this says about the differences between the “Western world” and the “Eastern world”? And how does this add dramatic tension to the narrative?

❒ Both expeditions feature a Spanish Catholic Mission by the side of an Amazon tributary. How are both characters delusional? How do both characters deeply violate the native land and its people? How is this a critique of colonialism?

❒ Compare and contrast Karamakate’s relationship with Theo and Evan. How do these relationships develop over the course of the film?

❒ Why does Karamakate burn the last yakruna plant? Do you think he’s justified in doing so? Why or why not? Were his sacred knowledge and beliefs being disrespected?

❒ Why do you think Old Karamakate says to Evan, “I was meant to teach you”? How is the film about Karamakate instilling spirituality in white men? What cinematic technique do the directors use to illustrate Old Karamakate’s point? Think about how he looks directly at the camera.

❒ What do you think the last yakruna plant represents? How is its extinction closely associated with Karamakate’s tribe? Why does Karamakate give the last plant to a white man? How is Karamakate’s entire identity and existence closely tied to the plant?


THEMES

❒ How does the film play with the theme of time? Why do you think the filmmakers decided to tell two similar stories, forty years apart? What is the purpose of the non-linear narrative?

❒ Analyze the theme of dreams in the movie. Why is it that neither white men have the ability to dream? Why does Karamakate tell Evan he must learn how to dream? Why do Karamakate and Theo have the same dream? How is the film a dreamlike exploration of the land?

❒ There are over nine different languages present in the film. Which ones could you identify? Which ones could you not identify? How is language used as a form of colonization by the missionaries and conquistadors? Why is that the Spanish missionaries only allow Spanish spoken in their church, and why do they call the indigenous languages “the devil’s tongue”?

❒ How does the rubber war play a role in the film? Why do you think the filmmakers never explicitly explain this issue, but rather place it as a backdrop in the expeditions? How are other themes in the film never fully explained but simply “happen”? How do these scraps paint a bigger picture of something Karamakate would describe as the worst of two worlds?

❒ Why do you think the filmmakers created a fictional character, Theo van Martius, rather than use the real anthropologist the film is based on, Theodor Koch-Grunberg? What about Evan, who is based on the ethnobotanist Richard Evan Schultes? Why didn’t the directors use the real characters? In which ways do the fictionalized surrogates make the film more meaningful?

❒ Ciro Guerra, the film’s director, advises that the film should not be seen to learn about the Amazon or the indigenous communities that live(d) there, because the landscape in the film is “an imagined Amazon 3.” What do you think this means? In what ways do you think this Amazon is fictionalized, and in what ways is it not? Do you agree with him? Why or why not?

❒ How is the film an insider’s perspective of the Amazon? In which ways is the Amazon alive?

❒ Do you think the film is an eye-opener? Is it a wild dramatization or a fair portrayal of what has been lost in the Amazon?

❒ Think about the title of the film and what it could mean. To answer this question, consider the scene in Old Karamakate shares yakruna with Evan. The Amazon can be seen in all its serpentine glory…


3 Mathiesen, Karl (8 June 2016). "Embrace of the Serpent star: 'My tribe is nearly extinct'". The Guardian

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