The problems of rampant industrialisation and unchecked capitalism have been the subject of several films across languages over the years. Such films also often come as much-needed reminders of how the indigenous people are oppressed and displaced in the name of development. The latest to join the list is Chilean film Sayen. Starring Rallen Montenegro in the titular role, the film is about how Sayen, a Mapuche girl, becomes a force of nature as she fights corporates out to exploit forests for commercial gains.
The film wastes no time in introducing us to the conflict, as we see Sayen taking refuge in the forest after escaping from a group of mercenaries. The makers do a decent job of establishing her connection to nature––she talks to the plants and animals like her family.
Meanwhile, Sayen’s grandmother, who owns land with a cobalt reserve underneath, has greedy conglomerates knocking on her door, setting in motion a horrible sequence of events, which the protagonist then sets out to avenge.
With a plot as old as the forests, the film desperately needed a screenplay that would have rejuvenated the idea to offer something new, but the makers fail miserably at bringing a fresh angle to the tale. It follows the done-to-death template of many of its illustrious and not-so-illustrious predecessors.
Despite a strong performance from Rallen and all the adrenaline-driven chase sequences, the narrative never quite has a thrilling moment.
Sayen is never in any real danger because the mercenaries are shown incapable of using guns well. Considering the stakes, it seems unbelievable that she escapes absolutely unhurt on multiple occasions, but she does. At one point, one of the bad guys fusses over how Sayen will be able to use the forest to her advantage because it is her home, but there’s barely a display of any such skill.
The stunts are repetitive and uninventive, and the dialogues trite. Even the hand-to-hand combat scenes fail to keep the audience engaged.
After a strong start and a sedate second act, the film trickles to a simplistic anti-climactic finale. Which is why when it ends with the promise of a sequel, one can’t help but ask, “Why?”
