The film begins with the couple sitting in a hammock and discussing about the barking that does not stop. Candida can not bear to hear the dog anymore, Ramón explains that in reality she is a bitch and that she needs to understand. Without agreement, the subject turns to the son and the War of the Chaco, again the pair does not understand. Ramon insists he heard birds fly and this is a sign of rain, Candida thinks her husband is hearing things. This whole sequence takes place in the first fifteen minutes of film.
After that, Ramón cuts off a bit of cane and recalls the conversation he had with his son, when he had warned that he would go to war. Initially without agreeing, Ramón accepts throughout the conversation to the point that in the end encourage the son to play his role, which is to defend his country. Cut to Candida, who remembers the same situation, but in the case she talking to her son, Máximo. He announces that he goes to the battlefield and he gets in a mixture of (in) conformed feelings.
Hamaca Paraguaya is a very important film for two reasons, the first is a sigh of life in the almost nonexistent Paraguayan cinematography, which was 28 years without producing a long. The second is its technical and aesthetic relevance to those who study film in their theory and technique or are spectators of the art film. But as I said before in the page, the idea is to give an impression closer to the common than specific.
The film is deliberately slow, because slow is understood to be very slow. The movement practically does not exist on the scene and it does not exist in the camera, which is always fixed - perhaps to faithfully portray the reality proposed there, a Paraguayan champion life of the 1930s. The dialogues are not deep but bring depth to the feelings. Here is another more interesting point on the technical side, which is actually the absence of dialogues on the scene - they are inserted in a displaced way and give the impression of being always memories.
After that, Ramón cuts off a bit of cane and recalls the conversation he had with his son, when he had warned that he would go to war. Initially without agreeing, Ramón accepts throughout the conversation to the point that in the end encourage the son to play his role, which is to defend his country. Cut to Candida, who remembers the same situation, but in the case she talking to her son, Máximo. He announces that he goes to the battlefield and he gets in a mixture of (in) conformed feelings.
Hamaca Paraguaya is a very important film for two reasons, the first is a sigh of life in the almost nonexistent Paraguayan cinematography, which was 28 years without producing a long. The second is its technical and aesthetic relevance to those who study film in their theory and technique or are spectators of the art film. But as I said before in the page, the idea is to give an impression closer to the common than specific.
The film is deliberately slow, because slow is understood to be very slow. The movement practically does not exist on the scene and it does not exist in the camera, which is always fixed - perhaps to faithfully portray the reality proposed there, a Paraguayan champion life of the 1930s. The dialogues are not deep but bring depth to the feelings. Here is another more interesting point on the technical side, which is actually the absence of dialogues on the scene - they are inserted in a displaced way and give the impression of being always memories.