Birds of Passage
Director: Cristina Gallego, Ciro Guerra
Year of release: 2019
Running time: 2 hours 5 minutes
by Jericho Cerrona
Spread out over five chapters, Cristina Gallego and Ciro Guerra’s Birds of Passage has the outline of familiarity; displaying elements of narcotrafficking, feuding families, and inevitable bloodshed, but there’s also a cultural element which makes the film utterly singular. The collision of western and native cultures was perhaps the overriding theme of Guerro and Jacques Toulemonde Vidal’s Embrace of the Serpent, and that’s true here too, though clueless Americans are mostly kept on the fringes this time. Instead, the film shows an almost hypnotic fascination with ritual; so much so that the storyline involving the marriage of Rapayet (José Acosta), from the Wayuu tribe to the teenaged Zaida (Natalia Reyes) initially seems secondary.
The main thrust of the meandering narrative seems to be the dishonoring of tradition and how wealth can corrupt from the inside out. As Rapayet gets mixed up in the weed and arms trade, entangling himself in dangerous deals with his uncle Aníbal (Juan Bautista Martínez) while Zaida’s disapproving mother and village matriarch Úrsula (Carmina Martinez) stands by, we witness an entire culture’s way of life falling apart.
Ego, greed, and senseless violence have always been at the heart of family-linked mob stories, and Birds of Passage is like an ethnographic version of The Godfather truncated down and told in an elliptical fashion. However, there’s no glamorizing of criminality here, even as the particulars of the tribe’s rituals are handled with care. Gallego and Ciro Guerra instead present encroaching modernity as an inevitability that the Wayuu must adapt to, no matter the consequences. No one is innocent. No one is without blame. Everyone has blood on their hands. Tradition and familial pride are simply not enough to subdue the allure of fast cash.
Birds of Passage shows us the insidious nature of drug cartels and the corrupting power of wealth, but its more primarily about humanity’s urge toward self-destruction. The overarching message seems to be that when all the dust settles, no matter what tribe or community one belongs to, we only have ourselves to blame.