Through a rainforest adventure story spanning forty years, the film writes commemorative poems of magic and realism for all the disappearing unknown civilizations. Its extraordinary narrative and imagery are like those of Sebastian Salgado. The image meets Weiner Horso's "A Boat on the Land", and the discussion on civilization and humanity is like Condra's "Heart of Darkness"
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"El Abrazo de la Serpiente" is full of fantasy, the adventure is fascinating and even trembling, it unearths the dark history, and expresses the confession of a nation
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The film uses 35mm black and white photography, which not only completely captures the reflection of light and shadow in the rainforest, but also overlaps the viewer's sight with the anthropological effect of ethnic photography in the early 20th century. In the beautiful black and white rainforest scene, Ciro Guerra weaves a rainforest epic where dreams, illusions and reality coexist. The call of environmental sympathy and resonance. Different from the product of modernity-highway film, the film reversely creates a form of "watershed film". The protagonist paddles a canoe into the deep forest. The interlaced presentation of each scene is the rubber war caused by the tyrannical colonization and the world war. The space and time in the film are scattered and converged in different dimensions at the same time. In the film, the relationship of power is sometimes mysteriously and meticulously raised by the director: you cannot decide who and how knowledge should be mastered. Various perspectives of the relationship between the characters are sometimes flipped and sometimes played, until finally, Kalamakat personally burned the artificially cultivated Yakruna flower, but gave Ivan the only remaining Yakruna flower in the world , Like an atonement for Theo, but also like an explanation to his own soul
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