Araya (1959) 1080p YIFY Movie

Araya (1959) 1080p

Araya is a movie starring José Ignacio Cabrujas and Laurent Terzieff. "Araya" is an old natural salt mine located in a peninsula in northeastern Venezuela which was still, by 1959, being exploited manually five hundred years after...

IMDB: 7.70 Likes

  • Genre: Documentary |
  • Quality: 1080p
  • Size: 1.57G
  • Resolution: / fps
  • Language: Spanish
  • Run Time: 90
  • IMDB Rating: 7.7/10 
  • MPR: Normal
  • Peers/Seeds: 30 / 18

The Synopsis for Araya (1959) 1080p

"Araya" is an old natural salt mine located in a peninsula in northeastern Venezuela which was still, by 1959, being exploited manually five hundred years after its discovery by the Spanish. Margot Benacerraf captures in images, the life of the "salineros" and their archaic methods of work before their definite disappearance with the arrival of the industrial exploitation.


The Director and Players for Araya (1959) 1080p

[Director]Margot Benacerraf
[Role:]Laurent Terzieff
[Role:]José Ignacio Cabrujas


The Reviews for Araya (1959) 1080p


Striking Visual Style in Elemental Black and White Fits Elemental LifestylesReviewed bymuseumofdaveVote: 9/10

This documentary-style, relatively short feature film is poignant, stunning in it's simplicity and rich in its humane impulses; it features actual workers in an almost impossibly hostile semi-desert bordering on the ocean that has served as a salt mine for over 450 years; the huge pyramids of salt are impressive, but even more so are the men who climb them with 140 pound baskets of salt, dumping them on top and receiving a few coins in their palms each time--and the women at the base of the pyramids who bag and tie the salt in hideously hot and dry climate.

While this group produces much of the money for the locals in their adobe villages, another group produces the food, venturing out in a large boat every morning hopefully to return with nets full of fish, as they have for hundreds of years. There is a strong sense of community that binds these people, and filmmaker Margot Benacerraf, instead of having anyone employ dialogue, follows her subjects with mostly poetic narration and a strong musical soundtrack.

There is actually a conclusion, and how the viewer reacts to it will certainly reflect attitudes toward modernization and the erasure of ancient traditions; this is a remarkably visual film, stunning to look at, whether from the top of a salt pyramid or bending down to a simple grave decorated with seashells in lieu of the flowers which cannot grow in this part of Venezuela. This is a valuable film document of a disappeared occupation; be sure to watch the "extra" which, fifty years later, follows up on some of the original workers.

A Venezuelan documentary about the salt pyramids.Reviewed byOneMinuteFilmReviewVote: 7/10

A Venezuelan documentary about the salt pyramids in a place called Araya and those who made their living there. Trust us, whatever job you're doing right now, it is nothing compared to what these people have to put up with. They toil from day to night, with little payment and in the scorching sun. They were resigned to their fate since childhood and it is the only thing they know. The director chose to shoot like a fly on the wall (in this case, on a salt pyramid) what they actually do in a day. After you watch this, you'll appreciate your job and life like you never did before. It is an affirmation of the human ability to take on what seems impossible and turn it into an amazing possibility. The cinematography in black and white was illuminating too. Take a chance and give this a try. You won't regret it and might even learn a thing or two about human being's indomitable perseverance.

450 years of medieval colonialist servitude, then machinesReviewed byTemporaryOne-1Vote: 10/10

Pharaonic Labour. 450 years of medieval colonialist servitude, then machines.

Machines: deliverance or dispossession and displacement? Lack of social/cultural/infrastructural evolution for 450 years, sun and sea and salt and fish, barren landscape, anachronistic idyllic utopian machine, inhabitants fixed unchanging volitionless coefficients for 450 years, until an external colonialistic entity introduces variation in the form of machinery/industrialization.

Sea salt is what remains when water is spent, when matter is spent, when the body is spent, when energy is spent, a fusion of sunlight and water crystalized into a bright glowing white geometrical structure, a cubic structure seemingly forged from liquid light energy, dregs, ashes, dust, classified as a mineral, a mineral comprised of 80 essential chemical elements, a mineral essential in sustaining human and animal and ocean life, in addition to many plant lives. Salt is essential to amniotic fluid; like the seas and oceans, amniotic fluid is extremely salty and that salty environment is necessary to producing and fostering the growth of the human embryo.

The human mechanics of salt milling parallel anatomical interactions of salt and water: pre-programmed robotic factoryline clockwork, precise, balanced, each gesture and and cellular process hereditary. Except sea salt mining necessitates dehydration of water from shallow water pockets in order to isolate and extract salt, whereas the human body, replete with oceans of water within the cells and throughout the body, necessitates a perfect balance of salt and water to avoid the debilitating and lethal effects of dehydration.

It's hard to lambast the exploitative machine of salt mining because salt is essential. Everybody needs salt and somebody has to extract it. The director muted the political/social critique, instead translating the labour into something that is part of the natural order of the universe of Araya, the people a special species created for the sole purpose of salt extraction, an approach that invites challenging questions. Isn't human labour part of the natural order of the universe? What is wrong with manual labour? Do we really want to introduce mechanical industrialization in such a purely natural environment? Do we really want to introduce into this environment all the social/political mechanisms designed to protect workers and enhance their quality of life, mechanisms that always do as much harm as good? Why interrupt something that is not as bad as it appears to be? Fruit pickers and slaughterhouse workers and landfill/soild-waste workers in the USA have it 1000x worse than the people of Araya did 50-something years ago pre-machinery. There is nothing wrong about people choosing to live an isolatory life of salt milling and fishing. Their lives are free of all the capitalistic consumeristic materialistic poisons destroying most of the world, so why introduce those trappings there? It's a double-edged sword, local inhabitants doing all the hard work is colonialist exploitation and must be stopped but "stopped" really means "replaced by machines" and we know that really means all the trappings of the west are unleashed into a purely natural traditional environment, and two of those trapping (industrialization, environmental degradation) visually punctuate the end of the film. Many challenging issues raised in Araya. A bounty of issues that are dominating the social/political spectrum right now.

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