Friday, March 4 - Sunday, March 6, 2011

The story of ARAYA is the stuff of legend: a half-century ago, this gorgeous tone poem of the otherworldly salt marshes of Venezuela dazzled Cannes, sharing a prize with Hiroshima, Mon Amour and earning its writer-director (making her feature debut) comparisons to Flaherty, Visconti and Rossellini. Yet distributors were unmoved, so it languished in obscurity, unseen and all but forgotten. Now, stunningly restored for its 50th anniversary — and theatrical premiere — by the champion of such lost classics as I Am Cuba, The Exiles and Killer of Sheep, ARAYA claims its place as a landmark of world cinema

“Hypnotic… ARAYA has lost none of its ability to fascinate and move us. It’s a gift to cineastes.” – Steven Soderbergh

“Stunningly shot and brilliantly crafted, this is a singular work from an incredibly distinct filmmaker. ARAYA is at once a revealing study of a very unique way of life and also a powerful meditation on the inextricable ties between society and place. We should all feel lucky to have this almost-forgotten gem unearthed and restored in all its beauty.” – Barbara Kopple

” I can compare the film only to Luchino Visconti’s great La Terra Trema for its combination of extraordinary beauty, outraged social conscience and almost mythic grandeur…. The experience [of seeing ARAYA] was stunning in 1959. It’s every bit as stunning today.” – Stuart Klawans, The Nation

  • Country Venezuela
  • Language English
  • Rating NR
  • Year 1959
  • Running Time 82 minutes
  • Director Margot Benacerraf

IFC Center does not generally provide advisories about subject matter or potentially triggering content in films, as sensitivities vary from person to person. In addition to the synopses, trailers and other links on our website, further information about content and age-appropriateness for specific films can be found on Common Sense Media, IMDb and as well as through general internet searches.