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《阿拉亞》是委內(nèi)瑞拉傳奇女導(dǎo)演瑪戈·貝納塞拉芙唯一一部紀(jì)錄長(zhǎng)片，它在拉美影史上占有相當(dāng)重要的位置，是委內(nèi)瑞拉民主后第一部獲得國(guó)際聲譽(yù)的電影，當(dāng)年在嘎納它與阿倫·雷奈的《廣島之戀》共同分享了國(guó)際評(píng)論家獎(jiǎng)，也都獲金棕櫚提名卻最終未果，盡管名氣不如《廣島之戀》和《黑人奧菲爾》那么大，但在專業(yè)人士眼中此片一直都是研究拉美女性電影所必修的經(jīng)典，影片出色的攝影時(shí)常被人們所贊美，是與卡拉托佐夫的《我是古巴》齊名的詩(shī)意電影杰作，法國(guó)著名導(dǎo)演讓·雷諾阿在看過(guò)影片后稱贊《阿拉亞》是他所見(jiàn)過(guò)最完美的紀(jì)錄片之一。貝納塞拉芙就像是委內(nèi)瑞拉影壇的特呂弗和亨利·朗格魯瓦，她不僅是第一位畢業(yè)于巴黎電影學(xué)院（IDHEC）的拉美導(dǎo)演，而且在1966年創(chuàng)辦了委內(nèi)瑞拉電影資料館，雖然由于資金短缺問(wèn)題，她個(gè)人的導(dǎo)演生涯并不順利，作品也很少，但卻為新委內(nèi)瑞拉電影的發(fā)展成立基金會(huì)，并曾獲得世界各國(guó)的無(wú)數(shù)榮譽(yù)和勛章。轉(zhuǎn)自AUESS的博客資料（http://blog.sina.com.cn/s/blog_497f6a250100cxm0.html）ShownatCannesin1959,theyearafterVenezuela'slastdictatorMarcosPerez-Jimenezwasoverthrown,thedocumentaryinadvertentlyhighlightsthekindofexploitationofthepoorthatcanleadtorebellion.WhilethedictatorescapedtoMiamiwith$13million,saltworkerswerepilingupmoundsofsaltontheflatsands,makingbarelyenoughmoneytokeeptheminarepasandblackbeans.Betweenthehot,tropicalclimateandthesoresontheirfeet,thejobtheseworkersdoeverydayisexcruciating.Yetthelivesofthefishermenandsaltworkersinthisdocumentaryareshowninthecontextofplanned,upscaledevelopment,somethingofadisservicetothelargerpicture.WithnotmuchmakingagreatimpressionthusfarattheBerlinale,MargotBenacerraf'slovelydocumentaryArayacomesasabreathoffreshairfrom1959.ReminiscentofAgnesVarda'sdebutfilmLaPointe-courte(1954)initsartfulbutsomewhatambivilantattitudetowardsfilmingalocalcommunityandtheirworkclearlyadmiredbythefilmmakers,Benacerraf'sfilmfocusesontheinhabitantsofAraya,adesolateareainVenezuelasubsidingthroughalonghistoryonthewealthofitsgreatsaltmarshes.ArayawasoriginallycomparedtoFlaherty'sManofAran,Visconti'sLaTerraTrema(1947)andRossellini'sIndia(1957).MargotBenacerrafhasdescribedthefilmas"acinematicnarrationbasedonscriptwritingratherthanaspontaneousaction,afeaturedocumentary,theoppositeofItalianneorealism"ccc