《阿拉亞》是委內(nèi)瑞拉傳奇女導演瑪戈·貝納塞拉芙唯一一部紀錄長片,它在拉美影史上占有相當重要的位置,是委內(nèi)瑞拉民主后第一部獲得國際聲譽的電影,當年在嘎納它與阿倫·雷奈的《廣島之戀》共同分享了國際評論家獎,也都獲金棕櫚提名卻最終未果,盡管名氣不如《廣島之戀》和《黑人奧菲爾》那么大,但在專業(yè)人士眼中此片一直都是研究拉美女性電影所必修的經(jīng)典,影片出色的攝影時常被人們所贊美,是與卡拉托佐夫的《我是古巴》齊名的詩意電影杰作,法國著名導演讓·雷諾阿在看過影片后稱贊《阿拉亞》是他所見過最完美的紀錄片之一。貝納塞拉芙就像是委內(nèi)瑞拉影壇的特呂弗和亨利·朗格魯瓦,她不僅是第一位畢業(yè)于巴黎電影學院(IDHEC)的拉美導演,而且在1966年創(chuàng)辦了委內(nèi)瑞拉電影資料館,雖然由于資金短缺問題,她個人的導演生涯并不順利,作品也很少,但卻為新委內(nèi)瑞拉電影的發(fā)展成立基金會,并曾獲得世界各國的無數(shù)榮譽和勛章。轉(zhuǎn)自AUESS的博客資料(http://blog.sina.com.cn/s/blog_497f6a250100cxm0.html)ShownatCannesin1959,theyearafterVenezuela'slastdictatorMarcosPerez-Jimenezwasoverthrown,thedocumentaryinadvertentlyhighlightsthekindofexploitationofthepoorthatcanleadtorebellion.WhilethedictatorescapedtoMiamiwith$13million,saltworkerswerepilingupmoundsofsaltontheflatsands,makingbarelyenoughmoneytokeeptheminarepasandblackbeans.Betweenthehot,tropicalclimateandthesoresontheirfeet,thejobtheseworkersdoeverydayisexcruciating.Yetthelivesofthefishermenandsaltworkersinthisdocumentaryareshowninthecontextofplanned,upscaledevelopment,somethingofadisservicetothelargerpicture.WithnotmuchmakingagreatimpressionthusfarattheBerlinale,MargotBenacerraf'slovelydocumentaryArayacomesasabreathoffreshairfrom1959.ReminiscentofAgnesVarda'sdebutfilmLaPointe-courte(1954)initsartfulbutsomewhatambivilantattitudetowardsfilmingalocalcommunityandtheirworkclearlyadmiredbythefilmmakers,Benacerraf'sfilmfocusesontheinhabitantsofAraya,adesolateareainVenezuelasubsidingthroughalonghistoryonthewealthofitsgreatsaltmarshes.ArayawasoriginallycomparedtoFlaherty'sManofAran,Visconti'sLaTerraTrema(1947)andRossellini'sIndia(1957).MargotBenacerrafhasdescribedthefilmas"acinematicnarrationbasedonscriptwritingratherthanaspontaneousaction,afeaturedocumentary,theoppositeofItalianneorealism"ccc