A Place Called Chiapas

899 Words4 Pages
As a viewer, the documentary’s intention to inform is more completely fulfilled by research conducted beyond the scope of the camera lens. Had I never written this paper, for instance, the reason for all the violence embedded within the subject matter would remain as enigmatic as the documentary itself. On the other hand, it’s possible that by contextualizing the pieces of the story in absence of an interconnected puzzle, the documentary forces viewer’s to think for themselves. If the Nettie Wild’s interests were more vested in raising awareness than delivering objective information, this documentary successfully satisfies its purpose. Her travelogues compel me to expand my perspective and develop my opinions on the matter under the…show more content…
People around the globe are able to reach out to one another, and yet somehow we’ve become less charitable. Currently, it is much easier to post a status on Facebook, for instance, about ending poverty or world hunger than it is to actually do something about it. Behind the façade of our online profiles, we’ve effectively limited our good nature to a wave of positive reviews (or “likes,” in the case of Facebook) instead of positive change. We’ve enabled ourselves to raise our self-esteem without the actionable change to justify it. I commend Nettie Wild for the profound meaning she finds in her work. Her tenacity is lost on most people. While filming “A Place Called Chiapas,” Wild “began to realize that [her] camera was framing the gap between reality and rhetoric.” She breaks the boundaries of my previous analysis and bridges the disconnect between media talk and the reality of being in Chiapas during this revolutionary time period. So, while the start of this documentary may seem ineffective to a film critic, her images speak for themselves. Furthermore, once Nettie Wild scores a rare on-camera interview with Subcomandante Marcos, who neither confirms nor denies his identity, but has been identified by the Mexican government as Rafael Guillén, the imagery begins to subside and the substance of the documentary begins to take over. For me, the singular theme of this substance lies at the
Open Document