Filmen handlar om en ung flicka från den etniske gruppen Aché. Hon överlevde den brutala mordet av hennes familj, begått av vita bosättare, och blev fokuset för en anthropologisk studie vid naturhistoriska museet i La Plata
This polemic on colonialism and its many victims honors the titular Damiana Kryygi, a young girl who suffered a tragic fate at the hands of settlers. A work at once apart from the New Argentine Cinema which precedes it while also sharing similar political ambitions.
A documentary on ethhnocentric anthropology's wounds inflicted on the people of Aché in Paraguay. Serene in tone it is free of resentful anger; rather, it slows down the testimonials and the voice-over and thus magnifies the silence of the landscape and the dignity if the people, inversely related to the aporetic gaze of Damiana's b/w photo. Like the angel of history she keeps open the remembrance of dispossession.
una película sobre los genocidios en nuestra américa, que se quiere modesta, simple, pero no deja de instalar preguntas urgentes. además algo que se le agradece a los documentales: cierta belleza de imágenes-
"We have to know our past to build a better future". Damiana Kryygi presents a beautiful insight and closure to the slaughter of "Damiana" after 117 years. Well-paced and directed, but I found missing missing some important backstory to the Aché at the start.
Beautifully shot using real scope and sensitivity towards the people and the environment, with a gentle pace that gradually unfolds from the central narrative of the abuse of a captured girl by settlers, and the role of anthropology in legitimizing the colonial era, to the oppressions still faced by indigenous communities.
A contemplative documentary that spends as much time among the Aché people as it does recounting Kryygi's tragic narrative. This allows the film to--gently but pointedly--contrast the deeply felt Aché response to Kryygi's tale with the academic/clinical approach of European(ized) anthropologists and historians, who calmly(!) recount the graphic details of Kryygi's body being ripped apart for the sake of science.
Reconstruction of a genocide personified in the simple and tragic story of parade and humiliation of a native American girl. The film relentlessly hammers consciences leaving an indelible print of remorse and awareness however, despite its length, its scope remains frustratingly narrow, never engaging in higher goals or deepening our understanding, mesmerised by its modest achievement.
A sincere narrator-led documentary in the vein of Guzman's Boton de Nacar but without quite the same scope or lyricism. Nevertheless, it suceeds in two ways: with its emotional (if somewhat cursory) look at the treatment of Paraguay's indigenous Ache people by white settlers, and also with its incisive critique of eugenicist anthropological inquiry (exemplified by Lehmann Nitsche, a 19th c. German scientist).