Jibaro is an allegorical presentation of the themes of colonisation and aboriginality, misunderstanding and redress.
“Sound” and “water” are the key elements of the film, which support the central idea of the story.
Firstly, the director uses ‘sound’ to create the sounds of nature that represent the indigenous environment.
There are two levels: the first, the nature of flowing water and birdsong, which corresponds to the original state of the indigenous people in the forest.
The second layer is a ‘variation’ of the sounds of nature – the murderous cries of the water demons, attacking the Spanish colonists.
The dress, gesture and ‘shout’ of the water demon are clear indications of the identity of the Siren, born of an ancient legendary culture, distinguishing her from the more ‘theocratic’ Christianity that followed, with its symbolic significance for the ‘ancient and primitive civilisation’. The symbolism of the “ancient and primitive civilisation”.
Water flow, on the other hand, is an extension of sound and is also divided into two levels.
For much of the text, ‘water’ appears as the first level of ‘sound’, the gurgling sound of a river flowing by, and naturally has the same meaning.
Particular attention is paid to the ‘underwater’ sounds: most of them are isolated, almost like what a deaf knight would hear if he lost his hearing. The second layer, however, is the final passage, in which a red river, mixed with bright blood, rushes angrily towards the Spanish deaf knight. This is equated with the cry of the water demon, a furious reckoning with the colonists.
The director sets up three narrative stages in the work, beginning with “the first attack of the Aborigines on the colonists”, progressing to “the misunderstanding of the colonists’ intentions” and finally coming to “the removal of the misunderstanding, the total resistance “. Voice” and “water” are the key tricks that drive the three stages.