A poetic calm subsumes Gabriela Domínguez Ruvalcaba’s languid documentary, shot among the mossy hills of Chiapas in Mexico. Here dwells the indigenous Tzotzil community which has kept a pastoral way of life against the march of time. Apart from the odd forest ranger and passerby, Ruvalcaba’s film focuses almost entirely on the Tzotzil women. Together, they tend herds of sheep which they still shear by hand, and use traditional tools for spinning yarns and natural dye for fabrics. Stunning to behold, these traditional practices not only keep cultural heritage alive but also introduce an element of artistry into every day rituals.
The women are often pictured in wide shots that take in the majestic landscape that surrounds them, furthering the deep relationship between the Tsotsil community and their environment in which natural resources are treated with care and respect. At the same time, Chiapas is far from an idyll. One woman says that, although they are now treated by nonindigenous people with more respect, discrimination still exists. Another speaks of gender inequality within her community and how her father prevented her from accessing education.
Ruvalcaba’s film also represents different kinds of crossings. The region, for instance, is lined with historic trails, while the camera lens also doubles as a threshold. The director grew up in the area but was not taught about the Indigenous communities; film-making becomes a conduit to bridge this gap. Though the stylised framing can at times err on the side of aestheticisation, there’s a fascinating moment where the ethnographic gaze is flipped. As they are being filmed, the Tsotsil women suddenly comment on Ruvalcaba’s camera setup and acknowledge the technical specificity of the shoot. Just like weaving, it seems film-making can be an artisanal art as well.
