Even the Rain

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Wilshire Screening Room, Beverly Hills Thursday, November 4 / 8:00 PM SPAIN EVEN In cooperation with THE RAIN and supported by: (TAMBIÉN LA LLUVIA) Director: Icíar Bollaín GENRE: Drama SYNOPSIS INSTITUTO DE LA CINEMATOGRAFÍA Y DE LAS ARTES AUDIOVISUALES (ICAA) LANGUAGE: Spanish Costa and Sebastian arrive in Cochabamba, Bolivia, to shoot a period Rafael Cabrera COUNTRY: Spain film about Columbus’s arrival in the Americas. They’re on the tightest Madrid, Spain T +34 91 701 7000 CO-PRODUCTION France, Mexico of budgets, but the shoot gets off to a smooth start. But things get [email protected] COUNTRIES complicated when their extras and main actor, locals to Cochabamba, www.mcu.es/cine YEAR: 2010 rise up against the privatization of their drinking water. Their battle to get their film made intertwines with the fight of their Bolivian crew LENGTH: 104 minutes members, deprived of their most basic rights, prohibited from collecting FESTIVALS FORMAT: 35 mm; 2.35 even the rain. Toronto IFF (scope), Dolby Digital Valladolid IFF (SEMINCI), Official Selection DIRECTED BY: Icíar Bollaín TAMBIEN LA LLUVIA sets up an intriguing dialogue about WRITTEN BY: Paul Laverty Spanish imperialism through incidents taking place some 500 years apart, while examining the personal belief systems of PERFORMANCES BY: Luis Tosar, Gael the members of a film crew headed by director Sebastian (Gael Garcia Bernal, Karra Elejalde, Raul Garcia Bernal) and his producer Costa (Luis Tosar) who arrive Arevalo, Juan Carlos Aduviri in Bolivia to make a revisionist film about the conquest of Latin America. Set in February and March of 2000 when real-life protests against the privatization of water rocked the nation, the film reflexively blurs the line between fiction and reality INTERNATIONAL SALES in what Variety calls “a powerful, richly layered indictment WILD BUNCH of the plight of Latin America’s dispossessed.” Carlos Aduviri Paris, France is dynamic as a local who is cast as a 15th century native T +33 1- 5301 5020 in the film, but when the make-up and loin cloth come off, [email protected] he sails into action protesting his community’s deprivation www.wildbunch.biz of water at the hands of the government. Meanwhile, Gael PRODUCTION COMPANY Garcia Bernal’s Idealist film director is as relentless as Werner MORENA FILMS Herzog infamously was in making FITZCARALDO, pushing Juan Gordon ahead against all odds, ignoring the prevailing danger about Madrid, Spain to disrupt at any moment. Despite the devastation emerging T +34 91 700 2780 around him, Sebastian seems unable to engage with any [email protected] emotion over than a dogmatic desire to get his film done. And www. morenafilms.com of course, the film also recalls themes in Herzog’s AGUIRRE, THE WRATH OF GOD and the film-within-a-film scenes are as CO-PRODUCING COMPANIES brutal as any in APOCALYPTO. MANDARIN CINÉMA, France VACA FILMS, Spain ALEBRIJE CINE Y VIDEO, Mexico For more, go to tambienlalluvia.com.

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Even the Rain: a Confluence of Cinematic and Historical Temporalities
Even the Rain: A Confluence of Cinematic and Historical Temporalities Fabrizio Cilento Arizona Journal of Hispanic Cultural Studies, Volume 16, 2012, pp. 245-258 (Article) Published by University of Arizona DOI: 10.1353/hcs.2012.0035 For additional information about this article http://muse.jhu.edu/journals/hcs/summary/v016/16.cilento.html Access provided by University of Washington @ Seattle (19 Oct 2013 16:47 GMT) Even the Rain: A Confluence of Cinematic and Historical Temporalities Fabrizio Cilento is Assis- ven the Rain (Icíar Bollaín, 2010) takes a metacin- tant Professor of Film and ematic approach to the story of a Mexican film crew Digital Media at Messiah in Bolivia shooting an historic drama on Christopher College (PA). His scholarship E Columbus’s conquest. With the water rights riots in Bolivia focuses on films whose main characteristic lies in recon- as a background, Bollaín uses different cinematic styles to structing historical events, establish disturbing parallels between old European im- mainly political crises and perialism, the recent waves of corporate exploitation, and conspiracies. Cilento received on the individual scale, the exploitation of Bolivian actors his PhD in Comparative Lit- for the benefit of the global film industry. The film within erature from the University a film device furnishes some insights on the dynamics and of Washington in 2010. His pressures that crews face when developing a socially engaged recent article “Saviano, Gar- rone, Gomorrah: Neorealism film. Bollaín warns that these productions can fall into a and Noir in the Land of the colonialist dynamic by reproducing the imbalances between Camorra” appeared in the the ‘visible’ countries in the global film market, and ‘invisible’ Global Noir issue of Fast countries whose native actors and visually appealing locations Capitalism.
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Globalisation and Coloniality of Power in También La Lluvia / Even the Rain (2010): Exploring Resistance and Indigenous Empowerment
Suarez, Marta F and Herrero, Carmen (2020) Globalisation and Coloniality of Power in También la lluvia / Even the Rain (2010): Exploring Resistance and Indigenous Empowerment. Ottawa Hispanic Studies, 28. pp. 133-154. ISSN 2561-8180 Downloaded from: https://e-space.mmu.ac.uk/624372/ Version: Accepted Version Publisher: Alter/Lugar Común Please cite the published version https://e-space.mmu.ac.uk Globalisation and Coloniality of Power in También la lluvia / Even the Rain (2010): Exploring Resistance and Indigenous Empowerment Marta Suárez Manchester Metropolitan University Liverpool John Moores University Carmen Herrero Manchester Metropolitan University This article analyses indigenous practices of resistance and empowerment in the face of neo-imperialism in Icíar Bollaín’s film También la lluvia / Even the Rain (2010). The film is set in Bolivia during the Water Wars of 1999, when the privatisation of water resulted in violent demonstrations. In the narrative, a transnational film crew arrives in Cochabamba to shoot a film about the violent colonisation of the Americas. This dialogue between what the historical film denounces and what the wider film narrative exposes highlights the unequal distribution of power, income and wealth in contemporary Bolivia. A third filmic experience, a behind-the-scenes documentary, comments on film practices and how cinema is constrained by the financial and creative markets in which it operates. The relationships between the three films problematise truth, authenticity and history. Using Anibal Quijano’s notion of coloniality of power and Manuel Castells, Saskia Sassen and Zygmunt Bauman’s work on globalisation and human value, this paper investigates how notions of colonialism, coloniality and neo-imperialism are configured within the film.
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Even the Rain: What It Gets Right and What It Gets Wrong About Water Privatization
Dawley 1 Even the Rain: What it Gets Right and What it Gets Wrong About Water Privatization By: Denise Dawley 03/14/2019 SPN 490 Advisor: Dr. María Cristina Burgueño Dawley 2 Introduction: The conversion of water to a traded commodity instead of a state-run resource is a growing trend around the world. This is driven by water becoming scarcer due to climate change and population growth. The United Nations and the World Bank pushed for privatization because of the belief that it will improve the water infrastructure in poorer regions, encourage more foreign investments, and prevent political corruption seen in state-run systems. However, the word “privatization” has a negative connotation, especially in Latin America, because not only does it involve companies, but also translational corporations. These companies tend to disregard cultural and historical significance of why people in these regions are wary of foreign groups taking control of their resources. This leads to mismanagement by companies in their water projects in these regions and friction between the company and the locals. For example, a subsidiary of Bechtel, a U.S. company, takes control of water in Cochabamba, Bolivia and pushes laws favoring a complete monopoly on all water. To increase profitability and with lack of consideration of the culture, the group raises prices without discussion from the locals. The friction eventually leads to a war in 2000, and the company is forced out of the country. This half-knowledge of the people showcased in that crisis has become a rallying point for films such as A World without Water, Blue Gold: World Water Wars, Mumbai: Liquid City, Even the Rain who highlight similarities between water privatization to Columbian colonization.
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Deterritorializing the Future Heritage in, of and after the Anthropocene Edited by Rodney Harrison and Colin Sterling Chapter 7 WATERKINO and HYDROMEDIA: How to Dissolve the Past to Build a More Viable Future Joanna Zylinska Figurations The opening premise of my article is the seemingly obvious yet nonethe- less vital fact that water is a key element of our planetary habitat and a condition of our earthly survival. Taking up this volume’s call to revisit the human and nonhuman past with a view to outlining a more viable future, I want to examine water’s fluid ontology and the forms of life it enables. Specifically, my argument positions water as shared human-non- human heritage and a site of geo-cultural memory, while recognizing that water always comes to us mediated. With this, I adopt the critical appara- tus of media theory to think about geology, heritage, history and memory in terms of dynamic processes rather than solid objects. I also propose two figurations – HYDROMEDIA and WATERKINO – as conceptual tools that will allow us to view cultural practices as constitutively entan- gled with their environments. The figure of HYDROMEDIA highlights that water only ever becomes something in relation to its container, body or place. It is thus a quintessentially communicative medium, although its language and purview transcend the human systems of communication. The figure of WATERKINO, in turn, encapsulates a genre of films which are not just about water, but which also mobilize water as a medium of both communication and world-formation. The chapter traces this agen- tial aspect of water by analyzing two artefacts: The Pearl Button, a 2015 film by Chilean director Patricio Guzmán in which water is seen as a car- rier of life, death and memory, and Even the Rain, a 2010 film by Spanish director Icíar Bollaín focused on the ‘water wars’ in Bolivia.
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Aquí Y Allá Thursday, September 4 , 7:00 Pm También La Lluvia Spain
company in 2000. In this masterful film-within-a-film, between the operation and maintenance of the green which is anchored in the philosophies of historian economy of the Amazon ecosystem. Howard Zínn, as well as the stories of 16th century priests, Fathers Bartolomé de las Casas and Antonio Montesinos, Bollaín raises questions about exploitation in South America, blurring the lines between past and present, fiction and reality. With an airtight script by Paul Aquí y allá USA, Spain, Mexico Laverty (long-time Ken Loach collaborator) and stellar th performances from cast Luis Tosar, Gael García Bernal, Thursday, September 4 , 7:00 pm Carlos Adurivi and Karra Elejalde, Even the Rain was 110 minutes Director: Antonio Méndez Esparza / 2012 Spain’s submission for the 2011 Academy® Awards. Viajo porque preciso, volto porque te Winner of the top prize at the Critics’ Week section of the amo Brazil Cannes Film Festival, Antonio Méndez Esparza’s th directorial debut radiantly captures the complex Thursday, September 25 , 7:00 pm homecoming of a loving father. In an unexpected take on 71 minutes Director: Marcelo Gomes & Darim Ainouz / 2011 the traditional immigrant story, Pedro returns home to a In this hauntingly melancholy film, geologist José Renato, small mountain village in Guerrero, Mexico, after years of travels to Sertão, an isolated region in Northeastern working in New York. He finds his daughters older and Brazil. His goal is to assess possible routes for a water more distant than he imagined; his wife still has the same canal from the region’s only river. For many of the smile.
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También La Lluvia 2011 Martes 2 De Octubre
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Globalization and Decoloniality in También La Lluvia
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EVEN the RAIN PRESSBOOK ENGLISH.Pdf
Vitagraph Films presents EVEN THE RAIN (Tambien La Lluvia) In Theatres in mid-February U.S. Distributor: Vitagraph Films LLC www.vitagraphfilms.com Facebook & Twitter: Vitagraph Films | Tambien La Lluvia U.S. Publicity Contacts: New York John Murphy PR 212 414 0408 [email protected] Los Angeles Vitagraph Films Margot Gerber [email protected] Spanish Language Ivette Rodriguez [email protected] 310 614.9674 TAMBIÉN LA LLUVIA (EVEN THE RAIN) Directed by Iciar Bollain Written by Paul Laverty And produced by Morena Films English Pressbook THE FILM TAMBIEN LA LLUVIA (Even the Rain), a film directed by Iciar Bollain and written by Scottish screenwriter Paul Laverty, is about, in the director’s words, “resistance and friendship. It’s a personal journey….an adventure undertaken by characters which brings the past into the present.” The story intertwines Columbus’ arrival in the Americas with the making of a film; it mixes the Spanish crown’s exploitation of gold in the 16th century with the fight for water in Cochabamba in the year 2000. The film takes us from the fiction of a period film to the reality of a film set in a small Bolivian city. And from that reality to another which is deeper and more dramatic, that faced by people with practically no rights, prohibited by law from collecting even the rain. But “Tambien la Lluvia (Even the Rain) does much more than compare historic events. It transcends the detail and delves into something much deeper and more universal. Deep down it’s a story about loyalty, camaraderie, and empathy.
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