Although its run time clocks in at an unusually brief 72 minutes, Pachamama is an animated feature the allows its story to settle and sink in, rather than presenting itself as though it is competing for the minuscule attention spans of eight-year-olds. The truth is that likely means it won’t get seen by a particularly wide audience, and that makes me sad. Its animation, “inspired by colorful indigenous art,” is reason enough to be seen on its own.
And herein likes a minor bit of catch-22: it’s wonderful that Netflix has picked up the rights to stream this film, which it reportedly will begin doing as soon as next month. Look for it on Netflix then, if nothing else; it’s better seen that way than not seen at all. But, that also will likely dissuade viewers from seeing it in movie theatres, where it truly is best seen. The artistry is truly unique and beautiful, and there just won’t be the same appreciation for detail on an iPad screen.
A joint production of France, Luxembourg, and Canada — and a 2019 César Award nominee for Best Animated Film — Pachamama is actually directed by Argentina-born Juan Antin, who bases this story largely on the Earth/Time Mother goddess revered by the indigenous people of the Andes. The story thus takes place in a small village just outside the city of Cuzco, once the capital of the Inca Empire, and is presently in modern-day Peru, about 47 miles from the ancient ruins of Machu Picchu.
No “ruins” figure in the story here, as Pachamama takes place during the reign of the Incas — although the two children, Tepulpai (Andrea Santamaria) and Naïra (India Coenen), take a journey by foot from the village to Cuzco. They are seeking the return of a golden totem they use in ceremonial offerings to the goddess Pachamama. In the process, the film Pachamama illustrates a bit of the hubris of both the Incan rulers as well as colonialist conquistadors, as Tepulpai and Naïra get caught in the crosshairs of those conflicts.
All the while, though, always steeped in indigenous Andean mythology, Tepulpai in particularly must learn the importance of both sacrifice and tradition. He’s defiant in the face of offering his “most prized possession” to Pachamama, and starts off pretty petty and selfish. In short, he’s a little asshole — behaving the way a whole lot of children in need of a lesson behave. The is thus the focus of a parable, and a very well rendered one at that.
The story, quite well polished considering there are five credited script writers, offers backdrops of both historical and mythological complexity, behind a veneer of pretty simple and straightforward plotting. Adult viewers will find a film of both visual and narrative depth. Young children are apt to be dazzled both by the story and the colors, provided they give the movie a chance to begin with. If they are desensitized by frenetic animation that relies on chaotic, rapid-fire editing, they might have little interest.
Longer attention spans, however, will very much be rewarded by this film, which is a genuine work of art.