Pájaros de verano

Pájaros de verano is a docudrama about an indigenous family, the Pushaina family of the Wayúu clan, who become involved in the marijuana business in Colombia. Although prosperous to begin with, their involvement in the drug business leads to many problems including loss of traditions and a war with another family.

Directors
Pájaros de verano is directed by Cristina Gallego and Ciro Guerra. Gallego and Guerra have worked on many films together through their production company Ciudad Lunar, including El abrazo de la serpiente. The two are both Colombians themselves, so it was important to them that Pájaros de verano was told from the perspective of Colombians. They worked to involve the Wayúu in the film to accurately portray their culture and traditions. Interestingly, Gallego and Guerra divorced during production. [2] [3]

Critical Works
AARP calls the film original and mentions that the filmmakers kept the set authentic by using Wayúu actors. It “depicts the collision of tradition and modernity,” which is quite accurate. The article calls Úrsula the central authority. An important section of the article says that this movie does not glorify violence, another unique aspect for a narco film. [4]

Variety states that the film “match[es] its artistic vision in anthropological value,” once again a testament to the authenticity of the film. The article also mentions that Úrsula, despite being female, holds real power over the men in the film. It mentions the clever title, referring to both the Wayúu beliefs about birds and the drug runners that leave immediately after arriving. The film captures the “tension between the old and new worlds.” [5]

Analysis
Pájaros de verano presents many interesting perspectives in film: a Colombian point of view on drug trafficking, a strong female presence and influence, and the impact capitalism has on indigenous traditions.

This film is part of the narcos film trend, but is unique in that it presents drug trafficking from an insider perspective of an indigenous group in Colombia. Most films show the point of view of the outside group. One of Gallego’s goals in the film was to show the impact of drug trafficking on Colombians. “The idea was that the business started here, but it came from people outside looking for marijuana and cocaine,” she states [b]. The Colombian drug trade was not necessarily caused by Colombians looking to develop business, but by external groups looking for a place to supply narcos. This film shows this when the Americans request marijuana to sell; their request, not the Wayúu’s own motivation, begins the transformation of an indigeneous group into drug traffickers. The impact marijuana has on the Wayúu family of indigneous suppliers is clearly demonstrated in the film.

Another related impact that can be seen is how capitalism changes the traditions of the Wayúu. The family becomes greedy as they are able to earn wealth for themselves. Their drug business becomes the focus of the whole family because of the income it brings them. It causes Rapayet to kill Moisés, a good friend of his. The delicate relationship between the Pushaina and Uliana families is due to the drug trade; tensions increase and decisions are made with the business in mind. Ultimately the greed turns into violence and both families suffer severe losses that can be traced back to their capitalism-based business.

Another unique characteristic of this film is the heavily matriarchal society. Úrsula is the most respected person in the Pushaina family; she is the one to make decisions for the family. Peregrino warns Rapayet that Zaida’s mother is the one he will have to persuade that family will be his top priority and that he will add prestige to her family. When Rapayet earns her approval, he is welcomed into the family. She continues to influence the decisions through the film, such as Rapayet killing Moisés. For most of the film, she successfully enforces the Wayúu traditions and rules, like when Rapayet returns from killing Moisés and is not allowed to see Zaida or touch Indira. She refuses to take a message from Aníbal without a word messenger in Canto 3. She encourages other characters to follow their traditions closely, and expresses concern when the results of it not being followed are seen.