by Hasan Altaf
Lately it seems we have revolution on the brain, so in that sense, Icíar Bollaín’s new film, También la lluvia (Even the Rain), came out in the US at the perfect moment. The context is different, the struggle and the outcomes are different, the actors and powers are different, but those differences only serve to bring into relief the similarities: It was impossible to watch the movie, set during the water riots in Cochabamba in 2000, and not think of the revolutions blooming today across other parts of the world.
The luck of timing was, I imagine, a surprise for the filmmakers, but the movie wears this accidental topicality lightly, perhaps because it has its own built-in reference point, a central conceit that is already strong. The water riots are not, at first, the central subject of Bollaín’s film – También la lluvia begins by being about a crew of Spaniards, led by an earnest, idealistic director named Sebastián (Gael García Bernal), making a movie about the first arrival of Columbus in the Americas, and Cochabamba is a cheap, convenient backdrop, full of Quechuas who will, for two dollars a day, play Taínos, much to the delight of Sebastián’s cost-cutting producer, Costa (Luis Tosar). The reality intrudes on Bollaín’s movie as it does on the movie within – Cochabamba becomes, suddenly, a city instead of a backdrop, and the “native extras” turn into stars of a very different drama.
If someone had described the movie to me beforehand, I would have avoided it. The juxtaposition of Columbus and the water riots seems, academically, too pat and perfect, too easy, almost simple-minded. Rapacious conquistadores, rapacious conglomerates; the same people suffering then and now; the obvious dichotomy of Davids and Goliaths – it’s a familiar paradigm, and one that tends to suffocate movies. (Although it did get used to good effect in Eduardo Galeano's Las venas abiertas de América latina, but that was a completely different project.) The great success of También la lluvia, in my view, is that it manages to use this conceit and rise above it – and so although I have described the movie in this way, I recommend highly that you go see it.