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	<title>venezuela Archives - cléo</title>
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		<title>Revisiting Araya</title>
		<link>https://cleojournal.com/2019/04/23/revisiting-araya/</link>
					<comments>https://cleojournal.com/2019/04/23/revisiting-araya/#respond</comments>
		
		<dc:creator><![CDATA[ann lewinson]]></dc:creator>
		<pubDate>Tue, 23 Apr 2019 14:10:15 +0000</pubDate>
				<category><![CDATA[vol. 7, issue 1: capital]]></category>
		<category><![CDATA[araya]]></category>
		<category><![CDATA[docufiction]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[jean rouch]]></category>
		<category><![CDATA[margot benacerraf]]></category>
		<category><![CDATA[robert flaherty]]></category>
		<category><![CDATA[third cinema]]></category>
		<category><![CDATA[venezuela]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3993</guid>

					<description><![CDATA[<p>Margot Benacerraf’s 1959 film Araya opens with a horizontal pan over freeze-framed clouds: movement within stillness. It’s an apt first image for a film portraying a community in motion, frozen in time. Over aerial shots of arid land as alien as a moonscape, the narrator intones, “On this land nothing grew. All life came from [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2019/04/23/revisiting-araya/">Revisiting &lt;i&gt;Araya&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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