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.
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.