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《阿拉(🔨)亚(yà )》是委内(🥇)瑞(ruì )拉传奇女导(dǎo )(🔼)演玛戈·(😘)贝纳塞拉(lā )芙唯(wéi )(🤢)一(yī )一(🍥)部纪录长片，它(🐉)在(🛤)拉美影(yǐng )史上占(🐮)有(🥩)相当重要的位(👋)置，是委内瑞拉民主后第一(⚫)部获得国际声誉的电(🎡)影，当年在嘎纳(nà )它与(yǔ )阿伦(lún )·(🚥)雷奈的《广岛之恋》共同分享了(le )(🚸)国际评论(lùn )(🥀)家奖，也都获(🔊)金棕榈(lǘ )提名却最(zuì )终未(🥁)果，尽管名气(qì )不(bú )如《广岛(dǎo )(🦗)之恋》和《黑人奥菲尔(ěr )(📙)》那么大，但(dàn )在专(zhuān )业人(rén )(㊙)士眼中此片(⛓)一(🎾)直都是研究拉美(👃)女性电影所必修的经(👺)典，影片(🎋)出色的摄影时常被人(rén )们所(👣)赞美，是与(yǔ )卡拉托佐夫的(👊)《我是古巴》齐名的(🏻)诗意电影杰(👪)作(zuò )，法国著名导演让·雷诺阿在看过影片(piàn )后称赞《阿拉亚》是他所见过(🥤)最(zuì )完美(měi )的(de )纪(jì )(🥅)录片之一。贝纳塞(sāi )拉(lā )芙就像是(🐖)委内(nèi )瑞(ruì )拉影坛(tán )的(🌸)特(tè )吕弗和亨利·朗格鲁瓦，她不仅(🍺)是第一(👚)位毕业(👩)于(🧘)巴黎电(❓)影学院（IDHEC）的拉美导演(yǎn )，而(ér )(🔮)且(qiě )(👅)在1966年(nián )创(chuàng )(💕)办了(🚪)委内瑞拉电影(yǐng )资料馆，虽然(🈸)由于资(zī )金短缺(quē )问(🚓)题(📯)，她(tā )个人的导演生涯并不顺利，作(🍝)品也(yě )很(hěn )少，但却为新委内(nèi )瑞(🏁)拉电影的(de )发展(😄)成立基金会，并(👧)曾获得(dé )世界各国的无(👅)数荣誉(yù )和勋(🦄)章。 转(zhuǎn )自(zì )AUESS的博客(🚹)资(😓)料（http://blog.sina.com.cn/s/blog_497f6a250100cxm0.html） Shown at Cannes in 1959, the year after Venezuela's last dictator Marcos Perez-Jimenez was overthrown, the documentary inadvertently highlights the kind of exploitation of the poor that can lead to rebellion. While the dictator escaped to Miami with $13 million, salt workers were piling up mounds of salt on the flat sands, making barely enough money to keep them in arepas and black beans. Between the hot, tropical climate and the sores on their feet, the job these workers do every day is excruciating. Yet the lives of the fishermen and salt workers in this documentary are shown in the context of planned, upscale development, something of a disservice to the larger picture. With not much making a great impression thus far at the Berlinale, Margot Benacerraf's lovely documentary Araya comes as a breath of fresh air from 1959. Reminiscent of Agnes Varda's debut film La Pointe-courte (1954) in its artful but somewhat ambivilant attitude towards filming a local community and their work clearly admired by the filmmakers, Benacerraf's film focuses on the inhabitants of Araya, a desolate area in Venezuela subsiding through a long history on the wealth of its great salt marshes. Araya was originally compared to Flaherty's Man of Aran, Visconti's La Terra Trema (1947) and Rossellini's India (1957). Margot Benacerraf has described the film as "a cinematic narration based on script writing rather than a spontaneous action, a feature documentary, the opposite of Italian neorealism".
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