A gecko adorned as native Mexican<\/figcaption><\/figure>\n\n\n\nThe director, through this scene, situates the animalistic survival instinct in the emotional battleground of humans -in a way distorting the differentiation of humans from animals. <\/p>\n\n\n\n
Such emotions occur throughout history in the various narratives of and about colonization. In this enactment, these emotions only appear in their rawest forms. This form is the underlying base beneath a flux of emotions through ages of colonial suppression and native rebellion. There is no illusion of emotions here, but only a motive of survival. <\/p>\n\n\n\n
The blood that appears at the end of this scene symbolizes bloodshed, which is the only constant throughout ages of war motivated by emotions. <\/p>\n\n\n\n
On spirit<\/h2>\n\n\n\n
There is a major emphasis on spirit -and of that which is related to it. If anything, the movie is a commentary on how the urge to climb up the social ladder through the accumulation of more than what we need, alienates us from exercising our spirit freely. Passion excluding adventure and adventure excluding free passion -both are negated. Both reduce one’s capability to know oneself or anyone else. The pressure on adherence to “good” or “evil” is so immense that one emerges knowing nothing. Where spirits become bound, knowledge cannot flow freely. <\/p>\n\n\n\n
The Alchemist<\/em>, in choosing industrialists, wanted them to engage with human duality in a freer way than they did. These chosen industrialists either led double lives, accumulated excessively, or exploited the corruption of human minds by eroding them further. <\/p>\n\n\n\n