www.huicholesfilm.com<\/a>, breaks new ground on many fronts. First there was the making of the film, which revolves around the pilgrimage of a single family, that of the marakame or shaman Jos\u00e9 Luis Ram\u00edrez, or Katira by his Wixarika name, to the sacred desert of Wirikuta and to the Cerro Quemado, the Birthplace of the Sun. Other films have been made exploring the colorful and deeply spiritual traditions of the Wixarika people, but none that has covered with this level of depth and professionalism the spiritual traditions of this people and the existential threat that culture now faces.<\/p>\nThe film crew, accompanied by numerous members of the Ram\u00edrez family, has also pioneered a new approach to distribution in an era of self-publishing and artistic independence. Rather than premiering the film at a prestigious film festival and then concentrating their efforts on audiences and festivals in major cities, the crew premiered the film in a way that most resembles the ancient Wixarika pilgrimage, but in reverse. The first two showings were in the pilgrimage destination, the threatened sacred site itself, the remote mountain range and desert valley of Wirikuta. The next stop was a two-day caravan up into the even more remote Wixarika territories. Only then did they take their tour to overflow crowds in Mexico\u2019s two largest cities, Guadalajara and Mexico City.<\/p>\n
Now, due to the urgency of the message, they are trying to raise the money to go on tour with the movie: first, beginning in August, in South America, followed by Europe in September and October, and the U.S. and Canada in November. Anyone who is interested in supporting this effort may contact Hern\u00e1n at hernanton@gmail.com.<\/p>\n
I caught up with the film\u2019s director, Hern\u00e1n V\u00edlchez, and producer, Paola Stefani, and Katira and his son Clemente at the producer\u2019s home in Mexico City last week as they recovered from the eight-day marathon. Here is the interview.<\/p>\n
Hern\u00e1n:<\/strong>\u00a0We\u2019ve just recovered from the Five Colors of Corn and Five Functions movie release tour, and the Ram\u00edrez family is here with us. The world premiere of\u00a0Huicholes: The Last Peyote Guardians<\/em>\u00a0was very well received and really exceeded our expectations. We\u2019re feeling very grateful to the Mexican people but especially those who attended and also supported by helping with the diffusion on the Internet, etc., to spread the word. It\u2019s been three and a half years since I began this work, almost as a mandate from the Elder\u2019s Council of San Andr\u00e9s Cohamiata. They asked me to do a film to tell the story of their struggle to save their most sacred site, and this is the result.<\/p>\nTracy:\u00a0<\/em><\/strong>Speaking of the movie release tour, let\u2019s talk about that first. What stood out the most for you as you traveled with this film, what surprised you, in terms of the way it was received? In particular, the different reactions of the very different audiences you were able to reach?<\/em><\/p>\nPaola:<\/strong>\u00a0For us it was very important to take the film in the first place to Real de Catorce and to the populations of the desert, and likewise to the Huichol territories in the mountains \u2013 this time only to San Andr\u00e9s Cohamiata, although in the future we\u2019d like to take it to San Sebastian, Santa Catarina and Nayarit. Our first interest is to take the film to the people who are affected by this conflict by the mine in Wirikuta, and so the first would be those who live in the desert, and of course to the Wixaritari.<\/p>\nAs Hern\u00e1n already said, the first response was to have in attendance more than 500 people, in Real de Catorce as in Estaci\u00f3n Catorce and in the Huichol territories. In Guadalajara, we could never have imagined that 800 people would show up and that more than half would be left outside. So obviously Wirikuta is a subject that interests many people. In Mexico City, where there was a last-minute change of venue and then it rained, about 2,500 people turned out \u2013 and what was very moving also is that the majority were young people.<\/p>\n
In the case of the Guadalajara function, there was an enormous diversity in the kinds of people who came. I think the public response \u2013 it was a very quick tour, no? In eight days we did five events and traveled more than 2,700 kilometers. So we didn\u2019t have the opportunity to stay for a long time in each place after the function but immediately after finishing the film what we most received were words of profound thanks \u2013 in the case of Real de Catorce we were talking to high school students; in Estaci\u00f3n Catorce we were talking to kids between 16 and 18 years old, and they were saying, \u2018We\u2019ve always seen the Wixaritari with their pilgrimages and we\u2019ve never really understood what it was about; now we understand.\u2019 And one of the things they told us is that they wish they had more opportunities to have access to this type of material.<\/p>\n
In Real de Catorce we had the chance to speak with\u00a0ejidatarios<\/em>\u00a0(collective landowners, mostly small farmers) from the mountains as well as the valley, and they were grateful to be able to have access to serious information, and also something that kept coming up in the comments was the importance of making it very clear that the Wix\u00e1rika people have no intention of depriving anyone of their land or their ability to make a living. One of the comments too was that it was really touching for many inhabitants of Wirikuta that the Wix\u00e1rika people were there, looking in their eyes concerning the effects of the mining on their territory and how it would affect the water.<\/p>\nIn Mexico City the film ended with a light sprinkling of rain (considered as a benediction among the Wix\u00e1rika people and their supporters) and applause and shouts of\u00a0Viva Wirikuta<\/em>, very moving as well. I think if it hadn\u2019t rained \u2013 we had a change of venue as well, for reasons out of our control we began with the monument of the Revolution and ended up at the Monument of the Mother \u2013 and I think if it hadn\u2019t rained as it did, I think we could have ended up with 5,000 people. It\u2019s not the film, it\u2019s the subject; I think the people are really sensitized to the subject of Wirikuta.<\/p>\nHern\u00e1n:<\/strong>\u00a0For me personally it was a great deal of emotion, the day we showed the film in San Andr\u00e9s Cohamiata. There were many people who gathered, many women, many families, many children, and the authorities were the first ones that congratulated us, the commissary, the government, they were all there meeting, and we were there to show the work that we had been charged with by other authorities in 2011 in this same place. They seemed very happy to receive us and it rained then, also, and they stayed and waited it out; it was really a beautiful experience.<\/p>\nIn Guadalajara it was really impressive; we weren\u2019t expecting that. In the beginning, in Real de Catorce, we realized that the influence of the public was more than we\u2019d expected and that was a big surprise at the beginning, and then there was an optimism. But in Guadalajara it exceeded everything; it ended up being a little bit difficult to manage, and also the people waiting in the rain in Mexico City was also impressive.<\/p>\n
I want to share a story of something that happened in Real de Catorce. There was an elderly woman, more than 70 years old or more, humble, from the desert, who said she\u2019d been in Real de Catorce to see the movie and now she\u2019d come down with her grandson so he could see the movie. She wanted to buy it and share it with all her family. For me that was really lovely.<\/p>\n
Tracy:<\/em><\/strong>\u00a0I wanted to ask about your Huichol companions \u2013 how was this whole experience for them, and how was it for you, traveling with them?<\/em><\/p>\nPaola:<\/strong>\u00a0We actually have the Ram\u00edrez family with us right now, so you can ask them directly. Here is Clemente.<\/p>\nClemente:<\/strong>\u00a0For me it was great and for the family that was present for the Five Functions \u2013 it\u2019s been an enormous sense of gratitude to those who brought this about. I think it caused people to really reflect a little bit on what we the Wix\u00e1rika people are living. There were those who questioned our motives, whether what we were doing in participating in this film was good or bad, but we feel clear that it was the right thing to do.<\/p>\nFor me the most important thing was that people like it, that they waited through the rain and the cold, to see the movie.<\/p>\n
Tracy:<\/em><\/strong>\u00a0Yes, I can imagine that was a really emotional experience. I would like to talk with you later, Clemente, in more depth. And for Paola and Hern\u00e1n \u2013 what was it like to share this tour with such a large group of Wix\u00e1rika people?<\/em><\/p>\nPaola:<\/strong>\u00a0Really we worked together fantastically. The crew was made up of about 15teiwaris\u00a0<\/em>(the Wix\u00e1rika word for non-Wix\u00e1rika), and more or less 25 or 30 Wixaritari (plural for Wix\u00e1rika). We had a pretty complicated logistics. We left Mexico City and headed to Real de Catorce with five trucks: one designated for the film crew; one for the journalists, two for the Wixaritari who accompanied us and one for the screen and the operators of the screen. From there we went to San Andr\u00e9s and from San Andr\u00e9s to Guadalajara and from Guadalajara to Mexico City. Finally we arrived in Mexico with almost 35 people \u2013 more Wixaritari than\u00a0teiwaris<\/em>.<\/p>\nThe coexistence between us \u2013 we were all a team: the Ram\u00edrez family, and the people from the production crew. We went everywhere together, ate together, slept together, worked together on the functions, the interviews we gave; there were always members of the Ram\u00edrez family present. So the experience of doing this tour, and all the functions being open and free to the public \u2013 which is very important, Tracy, because we as the production crew have to be coherent with the message, and to have been able to carry off five free events in which more than 4,600 people saw the film \u2013 it\u2019s a total success. And what\u2019s more, to have been able to work together with the Ram\u00edrez family \u2013 who are all in my house still \u2013 it began May 6. We were already together and we are still together. So it\u2019s a full month of work. Even thought the tour we did in eight days, we did advance work and Thursday we\u2019re going to finish with a function at the theater with the media. So we have a month living with 14 adult Wixaritari, 4 children, plus the director. Everyone in my house.<\/p>\n
Tracy:<\/em><\/strong>\u00a0Amazing. And that doesn\u2019t even include the time you spent together during the years of production.<\/em><\/p>\nPaola<\/strong>: Also people in the desert were working together to support us, coordinated by Luis Aguilar. To carry out the events in Real de Catorce and Estaci\u00f3n Catorce, more than 15 local people worked as well to organize the event. In the Wix\u00e1rika territories, there were also Wixaritari people there who worked, and also in Guadalajara, so there was a local production team in every area.<\/p>\nIt was a once in a lifetime experience.<\/p>\n
Tracy:<\/em><\/strong>\u00a0Yes, I can only imagine\u2026 Going back in time a little now, to the production of the film. Can you talk to me about that \u2013 beginning, Hern\u00e1n, at the very beginning, how you came to make this film, because as I understand it, you actually set out to make a much different film. And how was it that you came to make this commitment \u2013 because this was obviously an enormous commitment.<\/em><\/p>\nHern\u00e1n<\/strong>: Yes, that\u2019s true. We were producing a reality show series in Germany about the strictest parents in the world \u2013 a show that was really successful, and we managed the international contents, me and my partner Bani Silva, of Kabopro Films. I lived in Germany at the time. The context of filming the first short with the Ram\u00edrez family \u2013 and you can see it on Vimeo, on Kabopro films \u2013 upon asking permission to film with Jos\u00e9 Luis \u2013 Katira, the marakame, the father of the family Ram\u00edrez \u2013 they told us about Wirikuta. We didn\u2019t know anything about it.<\/p>\nSo we met with the traditional authorities of the community of San Andr\u00e9s Cohamiata to ask permission \u2013 which is something that\u2019s necessary in any traditional community anywhere in the world, and we\u2019ve spent years filming indigenous communities all over the planet, and so we know the codes and protocols of respect in the community. There they solicited us in a way almost like a mandate, almost like a spiritual command, as we interpret it now \u2013 because it was a meeting of the changing of the guard of 2011, when Efr\u00e9n Bautista Parra took over as governor of San Andr\u00e9s Cohamiata Tateikie, and there is where the elders together with him said, yes, we could, effectively; but that they wanted us to stay, and film the story of the struggle to defend, to save Wirikuta, their sacred land, where the peyote, or\u00a0Hikuri<\/em>, grows.<\/p>\nSo from that moment on, it was almost an obsession, to tell this message to the world and to share it in a film. That\u2019s when the first person of the crew entered \u2013 Jos\u00e9 Andr\u00e9s Sol\u00f3rzano; before I started the project I tried to contact Paola Stefani, but she didn\u2019t answer, so it was really complicated to manage ourselves as a serious production. From the beginning, I should say, we consulted with a blog that was called Venado Mestizo. From there we found Paola Stefani.<\/p>\n
In the moment that we decided on this project, seeing that we\u2019d be going on the pilgrimage \u2013 because the pilgrimage of the family would be the dramatic center of the film \u2013 so the information source we found that was the most complete and the most serious was Venado Mestizo. Getting in touch with her, we delayed a bit in this for the reason I mentioned, so we began production without being really on clear our path, which we clarified once we finally found Paola Stefani, who ended up being the third member of this team, and we began to work in an integrated way. So Jos\u00e9 Andr\u00e9s Sol\u00f3rzano, Paola Stefani, on the production side, and obviously with the support and the absolute inspiration of the Ram\u00edrez family.<\/p>\n
So that\u2019s how the project developed, and many people reached out, including you, Tracy, thanks to Paola\u2019s contacts, to be able to get the fundamental material like the footage from the United Nations and Vancouver, and so many other moments from this cause that have unfolded in the last three to four years.<\/p>\n
So there I was, with this mandate, and I began to work alone, a one-person team, without financing, because obviously the Wix\u00e1rika people weren\u2019t going to finance me. I didn\u2019t have deadlines or anything. So it was a strange time, with a language I didn\u2019t understand. So when I\u2019d ask something they\u2019d answer with two sentences and it would take like five minutes to translate \u2026 the Wix\u00e1rika elders would signal with a finger, and I didn\u2019t understand. It was very severe because not only that, but there would be an explanation behind it that was directed specifically at us.<\/p>\n
It\u2019s a very ambitious film in terms of all the themes it takes on, in terms of all the voices who speak about the topics. With the core idea being saving Wirikuta from whatever activity might put it in danger, as an entity, as a landscape, as a territory. That\u2019s a little bit of what they understand, and what the disinformation campaign is trying to undermine in the processes, or the methods, or the environmental issues \u2013there has not been a meeting yet. What is a fact and what the Mexican law demands and proclaims, in the voice of Jaime Mart\u00ednez Veloz, Commissioner for Dialogue with Indigenous Peoples of Mexico of the current federal administration here in Mexico, that it is necessary to consult with the indigenous groups on any activity that affects their sacred sites, before doing anything \u2013 and this happened in reverse. According to the Wix\u00e1rika people, neither the officials of the company nor of the government have explained to them exactly the possible effects or how the work will be done. Currently about 90 percent of the reserve is concessioned for projects of megamining in addition to agroindustrial activities that greatly affect the ecosystem, which is very delicate and very fundamental. This is a fact that comes out in the movie and it opens the door to dialog, and our intention is to open a dialog in the society in general, which is necessary to resolve a conflict that has been so problematic for Mexico and for the world in these times.<\/p>\n
Tracy<\/em><\/strong>: I\u2019m imagining this must have been a very difficult documentary to film, logistically speaking, as well. Can you please talk a little about the challenges you faced as a production crew?<\/em><\/p>\nHern\u00e1n:<\/strong>\u00a0The challenges were constant and multiple; it was very, very rough from the beginning to the end, to the last moments of the last presentation of the Five Functions.<\/p>\nTo give you an idea; we\u2019d just left the Huichol territory of San Andr\u00e9s and we\u2019re 20 minutes down the road and, boom! The truck ran out of gas. So here we are, in the middle of the mountains, at night, without gasoline \u2013 with a whole family with children. Fortunately a Huichol authority came along and saved us. But the situation with the truck was pretty complicated and we were waiting the whole night to resolve it.<\/p>\n
Then there was another complicated situation with a group of people around there called the Zetas. We had a confrontation with them, and there we were with the whole Ram\u00edrez family, and our production crew in the middle of this. We stopped; these people were very suspicious, and asked for our passports \u2013 it was complicated. The presence of the family was very key in generating an aura of protection and tranquility around everything, but we passed through some very worrisome moments. This ended up translating in the social events being the easiest part.<\/p>\n
In the desert and in the sierra, there were nights without sleeping, it was very cold, we were eating standing outside the truck sometimes, not much food, really at a subsistence level, and really it was a process; for the family, it was all a ceremony. They permitted us to be witnesses.<\/p>\n
When we went down to the\u00a0kalihuey<\/em>\u00a0(temple) in the valley, it was really intense, the climb down and then back up with all the equipment and everything else; and when we went to the springs, where Jos\u00e9 Andr\u00e9s sunk in a swamp up to his knees with the camera and everyone laughing all around \u2013 it was a spiritual experience, something that required much commitment and strength of all kinds. Then the climb to the Quemado from Mastranto, that was really intense and difficult, carrying all the equipment including a slider, which allows the camera to make subtle movements, all of that very heavy because it\u2019s quality equipment, various cameras and there were just two of us at that moment and throughout the pilgrimage. Paola couldn\u2019t be with us because she was in the city doing other really important things \u2013 so there was just Jos\u00e9 Andr\u00e9s and me, in all this process basic to the film. This was the part of the trip where we did the majority of the interviews and of course the pilgrimage, and it was really difficult and demanding, physically and mentally. The equipment also suffered problems; we rented an aerial camera and the helicopter crashed in the middle of the desert, and well, everything was like that.<\/p>\nBut I think all of that comes through in the film \u2013 that it\u2019s a case of urgency \u2013 with realistic sound, very windy, always a lot of wind. There\u2019s a little of the heart that\u2019s left in this because we\u2019re going beyond an artistic work, the personal vision. Rather, it was a group project, with the whole team here and the team in Argentina \u2013 by the way there are people there who did the music and designs, the marvelous logo \u2013 all of this, it would take too long to tell. Without Paola Stefani and her Mexican team, and the Ram\u00edrez family, and all the people who collaborated from the Wix\u00e1rika community, the authorities, and the people from the desert and from the villages \u2013without them all, this movie would not have happened. To paraphrase the words of Ricardo Flores, chief engineer with Minera Real Bonanza, this movie is 100% Mexican. It\u2019s an Argentine team that collaborated with a Mexican production.<\/p>\n
For now the director\u2019s cut is available for download on the website; in a couple of weeks we\u2019ll have the fully edited version with subtitles in English, for global exhibition. The director\u2019s cut will go into a collector\u2019s edition. The other will be for exhibition in communities, neighborhoods, up to communities in the Amazon \u2013 it will be a more summarized version, for the general public.<\/p>\n
We will then be organizing our tours, participating in film festivals, hoping to get some invitations and in fact we\u2019re already getting some, and we hope to include on our tour places that are involved in these types of conflicts and especially those that have to do with ancestral traditions, and dealing with topics as current as the climate, water, the self-sufficiency of the people, justice essentially.<\/p>\n
Paola<\/strong>: Honestly the role that I played was as a link between the Wix\u00e1rika people of the different communities and the specialists who participate in the documentary \u2013 I would like to mention Iv\u00e1n Guzm\u00e1n, the brother of Lalo, who participated at my side when we began to produce the interviews and talked to Hern\u00e1n to recommend who should be interviewed. This process \u2013 the film is dedicated to three people, and one of them is Ivan, who left us last year.<\/p>\nBesides my participation in the communication, the dissemination of contents, for the defense of Wirikuta; at least my work was always inclusive and I was always attentive to all the voices of all the communities, the mining company, the federal and municipal government. So yes, I believe part of my challenge in this production had a lot to do with being able to count on experts and specialists in the various themes that appear in the movie. I\u2019m really happy \u2013 for me it\u2019s a very serious and respectful piece of work. And to be able to count on the participation of the federal and municipal government and the mining company gives it a vision that\u2019s bigger than the conflict. I\u2019m also happy with the participation of the people of Wirikuta in the film. I believe in most of the materials that have been disseminated in the past four years, those voices are always absent. The balance is always on the side of the Wix\u00e1rika voice. I also think the work particularly of Tunuari Ch\u00e1vez of the technical team of the Wirikuta Defense Front and his campaign for the right to information also opened the doors for us to be able to make this film, in Real de Catorce. In a rudimentary but precise and concrete way, Tunuari opened that path for us. And what we did with the film was concentrate the information, which facilitated access to the mass media.<\/p>\n
So for me, my challenge was and is that the film is balanced in terms of the voices, that it provides serious information, academically and scientifically speaking, and also the opinions of certain leaders \u2013 it\u2019s very interesting for me for example, hearing in the film the voices from the Wix\u00e1rika Union and the Regional Wix\u00e1rika Council, the voices of Juan Carrillo and Santos de la Cruz; for me it\u2019s a great achievement.<\/p>\n
And, well, in the part of production, working from a distance with the crew on the ground \u2013 and there were moments when we had to do other things, because we also have to work to live! I think if it weren\u2019t for that, we could have probably finished in a year! But this is an independent film, Tracy.<\/p>\n
Tracy:<\/em><\/strong>\u00a0How long did it take to do all the production, from start to finish?<\/em><\/p>\nPaola:<\/strong>\u00a0Three years \u2013 and my closeness with the Frente (Wirikuta Defense Front), with the Wix\u00e1rika people, with the different communities, with many people who participated in the contents, I think I\u2019m one of the people who most knows this movement. So I was in a way a kind of guide for Hern\u00e1n, and I could say, look, this is happening. Trying to give voices to the different areas of investigation and support, because also the generation of information takes time. Three years ago we didn\u2019t have information about the topic of water. So also the movie takes time to make because we went along making the film as the movement generated contents for the defense of Wirikuta.<\/p>\nSo producing all this tour was also a big challenge. I\u2019m happy we did it, we did it well; we had five successful events in which more than 4,600 people saw the film.<\/p>\n
Tracy:<\/em><\/strong>\u00a0Are there any anecdotes you\u2019d like to share \u2013 stories you like to tell about the crazy things that happened along the way?<\/em><\/p>\nPaola:<\/strong>\u00a0I like the story about when in San Andr\u00e9s we were just setting up the screen and a cloud came down and covered the plaza where we were working \u2013 and all around us it was clear and beautiful, only just right above us there was a cloud dropping hail. And I was thinking, we\u2019re not going to be able to show the film, we\u2019ll have to cancel the event.<\/p>\nKatira said it was a blessing. And in 10 minutes there was no rain and we were able to project. More than 500 people came, and we watched it standing up because we couldn\u2019t sit on the ground as it was wet. And with all the cold, this rain really was a benediction.<\/p>\n
Hernan:<\/strong>\u00a0The production crew of the tour was also very diverse; people with different professions, people who lived in the Sierra of Catorce, the people from the desert, people from Guadalajara; the lesson was that if you want to do something you can do it. And in front all the people who participated in this, the heart came first. The interesting thing is that the message hit home. Not just the Wix\u00e1rika message but the message of caring for the Mother Earth, and the importance of caring for the sacred territories.<\/p>\nI think the message also in relation to the mining industry \u2013 the extractivism and the destruction of the environment. For that reason we\u2019re very interested and we are calling on organizations that work with indigenous people and rural communities and environmental groups, that their work agenda include the possibility of sharing this movie in their communities, and that they support us in this.<\/p>\n
Tracy:<\/em><\/strong>\u00a0With a little bit of time now to reflect, what have been the most important lessons, the most important things you\u2019ve learned in this process?<\/em><\/p>\nHern\u00e1n:<\/strong>\u00a0First of all, teamwork was key; with something that began as a personal mandate, and it began to grow like a ball of snow, and heart, and sun and fire, and other very valuable people who brought other people and people began to come, even through Facebook, who knew someone, and each one gave from their heart. So with each one giving their small part, concretizing in small actions, and the audience \u2013 which also people were saying this project, what is it, who\u2019s doing it, who are these foreigners, what are their motives, this and that, it became clear that this was an authentic project. That we were for real and that we brought a serious discourse, regarding who we spoke to and who gave us space.<\/p>\nWe had showings that included all the way up to the Wix\u00e1rika authorities to activists to academics, to government and cultural leaders, and also inhabitants of the desert and the mountains; we had the municipal authorities of the region, people from the mining company, and now we are getting invitations from other communities and we\u2019re seeing how we can bring that about. There are those extremely valuable people who helped make it happen, Rumbo Nomada, Masacalli, Nierika, Armando Loizaga, a great friend of this project from the beginning; some of those who are absent now but I think the message came from the apparent simplicity of this people that have in reality a very complex cosmovision. It\u2019s taken years for anthropologists to come to agreement about what are the names and codes and characters and stories that intertwine in their world, that they keep alive in their practices, which has at its fundamental heart Wirikuta. And without this place, they can\u2019t do it.<\/p>\n
And they are inviting now, in a way that\u2019s never happened before, that people come and learn with them, that people help them share this knowledge \u2013 the part of it, at least, that can be shared, because another part that\u2019s very sacred, very old, and can\u2019t be explained \u2013 but knowing the only way that most people will ever come to know is by seeing the film, so they traveled with us.<\/p>\n
And it\u2019s important to emphasize, this is not a circus, it\u2019s not a show; it\u2019s a presentation, a team where the Wix\u00e1rika people are half plus one.<\/p>\n
Paola:<\/strong>\u00a0For me it was like closing a cycle in my work with the accompaniment of the Wix\u00e1rika people for all these years. In working for these years in diffusion on the Wirikuta case \u2013 the movie is the work of many of us, Tracy, creating a unique discourse. For me it is a very encouraging film, in the sense that people can work together for the same end, and I think the film has pulled together the work of many.<\/p>\nOn the other hand I think what makes me feel good and proud of what we\u2019ve achieved it\u2019s having been able to work not only with occidental people; but to be able to work with the Ram\u00edrez family, people from different communities.<\/p>\n
It\u2019s not that it was filmed once and that\u2019s it. It was really the sum of more than three years of work, and so I see the film and our work reflected \u2013 yours, mine, that of Flor and Iv\u00e1n, and all the organizations. I see it like an extraordinary retelling of a story of a movement. Also I\u2019m very happy with the path we decided to take with Hern\u00e1n to make the five functions. It reflects our intention that the message arrive in every little corner of the world.<\/p>\n
So now we begin the game of showing and distributing. There are many films that first go to festivals and spend a year going through the festivals and then premiere. We decided to premiere first, and then go through the festival circuit. Put it online, and then do the festival circuit where they invite us where we can be \u2013 because what we see is this is a story that is happening right now. It\u2019s alive. Like Santos said in the movie, as the Wix\u00e1rika people are a living culture, what we see in the movie is happening right now \u2013 this movie is a living movie. So we hope to begin a forum of dialog, but serious dialog, including all those involved. That\u2019s why we put the film online, so that more people could be aware of this, because really the Wix\u00e1rika people have supporters all over the world, and they\u2019ve shown that wherever they go, they draw people. And public opinion is important.<\/p>\n
The price is very accessible \u2013 it\u2019s $3.99 \u2013 because beside we believe that the message of the Wix\u00e1rika people is like the point of an arrow. What happens in Wirikuta is happening in many places \u2013 throughout Mexico, throughout Latin America and around the world. So our intention is that the message of the Wix\u00e1rika people be known. That\u2019s why we did this launching campaign.<\/p>\n
Hern\u00e1n:<\/strong>\u00a0It\u2019s a translation in\u00a0teiwari<\/em>\u00a0of what they do in every ceremony; we have been able to share in that with the Ram\u00edrez family, which is really big \u2013 but they carry themselves very quietly, with a lot of care and with a lot of peace and family order, in a beautiful way. With their very presence, they go transmitting a kind of teamwork in community, and they taught us many aspects \u2013 one has to understand the life of indigenous people is very complicated, not just because there is discrimination, which there is, but also territorially. They have a lot of difficulties completing their pilgrimages, and the issue of the mining company would be catastrophic, if it comes about the way it seems like it would.<\/p>\nThere are so many other problems but there\u2019s a very complicated process that involves the sacrificing of an animal \u2013 not in a mass way but as you see in the film, very well done, with a great deal of respect for the being, in a ritual context, which is something that has been carried out for a very long time. There\u2019s the hunting of the deer, which is a sacred animal; it\u2019s almost like hunting oneself. That\u2019s why it forms a part of a cycle. And the deer is not endangered because of them, it\u2019s endangered for other reasons. It\u2019s like the peyote, which they harvest for their family\u2019s use, is not endangered because of them, but for other reasons, such as the tourists, national and international, who come here and steal it without understanding it and even sell it and commercialize it. This is putting in danger a culture that knows how to use it, that teaches its children. For example there\u2019s a child \u2013 Daisy one of the daughters, who is featured on the movie poster \u2013 who pulls it up by the root. They tell her, no, no, no \u2013 you have to cut it and leave the root. This plant has to stay connected. It\u2019s like neural tissue that needs to stay here in the desert. That area is like a feminine breast, which concentrates the subterranean prehistorical waters due to the rocky formations of the Sierra. That complex mineral structure can be seen as an organic circuit, which keeps ancient information inside. Like a CPU\u2026 and through the waters the data is transmitted to the peyote, which acts as an herbal interface for the Huicholes. Therefore, consuming the cactus in their rituals, they then connect with their ancestors and their messages, renovating the cycle, the equilibrium to have good rains to feed their crops and to keep the \u201cworld\u201d in balance.<\/p>\n
Tracy:<\/em><\/strong>\u00a0A beautiful analogy, Hern\u00e1n. Now I\u2019d just like to ask the two of you: What\u2019s next for the Last Peyote Guardians?<\/em><\/p>\nPaola:<\/strong>\u00a0We\u2019re hoping to do more showings in Mexico and then afterwards we hope to raise the money to do tours in South America, Europe, the U.S. and Canada. Our website explains how people can support us in this. When there is a projection, where there\u2019s a charge, we get 50%. If we go \u2013 we have to pay our expenses. Then if we make a surplus, a percentage of that will go to support projects in Wirikuta and in the Huichol territories.<\/p>\nSomething we also learned in this journey \u2013 we traveled very austerely, in the sense that they gave us hospitality in very economical places, they fed us well, but all of it really taking care of the money. We want to keep doing it this way, so that way we can bring more people. We don\u2019t want five stars. What we want is to be comfortable \u2013 a good place to sleep so we can be intelligent when we present the film \u2013 and we want to be together.<\/p>\n
To do these Five Functions, a number of different organizations collaborated. So the idea is to join forces and lower the costs.<\/p>\n
Now we\u2019re beginning a stage of, they are going back to the Sierra and Hern\u00e1n has to go back home, and we\u2019re going to sit with Hern\u00e1n and plan the trips.<\/p>\n
One more thing I\u2019d just like to add, the three of us, Hern\u00e1n, Jos\u00e9 Andr\u00e9s and I, are profoundly grateful to the Wix\u00e1rika people and the Ram\u00edrez family to have invited us and permitted us to make this film. It is an honor that brings us to tears.<\/p>\n
by Tracy Barnett on July 14, 2014
\nhttps:\/\/intercontinentalcry.org\/interview-directors-huicholes-last-peyote-guardians-24743\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"When Argentine filmmaker Hern\u00e1n V\u00edlchez made his way up into the remote Wixarika community of San Andr\u00e9s Cohamiata Tateikie high in the Western Sierra Madre of Mexico, he knew he would be entering another world. What he didn\u2019t know was how deeply it would change his own life. The movie tells the story of the […]<\/p>\n","protected":false},"author":2,"featured_media":268,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26],"tags":[],"class_list":["post-267","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"yoast_head":"\n
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