You Will Be Watching Even The Rain: A Film On Netflix

You Will Be Watching Even The Rain a film on Netflix and

You will be watching the film "Even the Rain" on Netflix and answering discussion questions about the film:

- What was the director's rhetorical aim and intended message?

- What do you think the director intended to convey by using the device of a film-within-a-film?

- What other parallels or contrasts can you find between Sebastián’s film and the events of the water war?

- What parallels do you see between the discovery of America and the Water War?

- What do you think about the fact that Sebastián and Costa choose Cochabamba because the extras are cheap?

- What do you think is the significance of the present Daniel gives to Costa?

Paper For Above instruction

Analysis of "Even the Rain": Director's Rhetorical Aims and Parallels

"Even the Rain" (También la lluvia), directed by Icíar Bollaín, is a compelling film that intertwines historical and contemporary struggles over water rights, highlighting themes of colonialism, exploitation, and resistance. The director's primary rhetorical aim appears to be to draw parallels between the colonization of the Americas and modern-day exploitation of resources, emphasizing the cyclical nature of oppression and the importance of awareness and activism. This aim is achieved through layered storytelling and evocative characterizations, fostering a nuanced understanding of social injustice.

The intended message of the film emphasizes that historical patterns of oppression—such as colonial conquest—persist in contemporary forms, often hidden beneath economic and political interests. By juxtaposing the Spanish filmmakers' production of a colonial-themed film with the water protests in Bolivia, Bollaín underscores how the legacy of colonialism continues to impact indigenous communities today. The film advocates for social consciousness, urging viewers to recognize ongoing injustices and consider their role in either perpetuating or challenging these systems.

Bollaín employs the device of a film-within-a-film to deepen the narrative's complexity and thematic resonance. This technique allows for reflective commentary—when Sebastián and Costa create a film about Columbus's conquest, it becomes a mirror for Bolivia's water conflict. It highlights the irony and tragedy of history repeating itself, illustrating that imperialistic attitudes and exploitation are not relics of the past but contemporary realities. The device serves to remind viewers that understanding history is crucial to addressing current social issues. The layered storytelling encourages introspection about the role of filmmakers and consumers in perpetuating or challenging systemic injustices.

Parallels between Sebastián’s film and the water war are profound. Both depict conflicts over control of essential resources—gold, in the film's colonial context, and water, in the present-day protests. In both scenarios, vulnerable populations are subjected to violence and disenfranchisement to sustain economic interests. The film's portrayal of colonization echoes the exploitation faced by Bolivian citizens fighting for their fundamental rights, underscoring the ongoing struggle for sovereignty over natural resources. Contrasts, however, reveal shifts in global dynamics; while colonization was overt and aggressive, contemporary water conflicts are often masked by legal and economic justifications, reflecting complex layers of global capitalism.

The parallels between the discovery of America and the Water War reveal how colonial history shapes present realities. The colonization of the Americas initiated centuries of exploitation, dispossession, and cultural domination, which are echoed in Bolivia’s current struggle against water privatization. Just as colonial powers claimed lands and resources for profit, modern corporations seek control over water sources to maximize profits, often disregarding indigenous rights and environmental sustainability. Both histories exemplify how resource appropriation serves as a form of domination, reinforcing systemic inequalities and undermining indigenous sovereignty.

The decision of Sebastián and Costa to choose Cochabamba because the extras are inexpensive underscores economic pragmatism that often fuels global inequalities. This choice, while practical, highlights the complicity of filmmakers and the broader industry in sustaining exploitative systems. It also raises ethical questions about representation and authenticity in filmmaking—whether marginalized communities are merely spectacles for media productions or active agents in their narratives. The economic rationale reflects broader systemic issues, where marginalized populations are undervalued and commodified for capital gains.

The significance of the present Daniel gives to Costa symbolizes the connection between the personal and political. Daniel's gift, a small but meaningful gesture, signifies a recognition of shared struggles and the importance of individual agency within larger systemic issues. It also serves as a reminder that history and activism are rooted in personal relationships and human empathy. This exchange underscores the potential for solidarity across generations and contexts, emphasizing that collective action begins with individual acts of understanding and connection.

References

• Bollaín, I. (Director). (2010). Even the Rain [Film]. Spain/ Bolivia: Fernando Bovaira and Kowalski Films.
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