‘También la Iluvia’: A Lesson in Shallow Representation
'También la Iluvia' exploits Indigenous peoples' fight against the privatization of water in order to tell a story about Spanish characters.

In France during World War I, an army payroll car containing $250,000 turns up missing. A GI, nicknamed "Spuds" because of his prowess at peeling potatoes, discovers that it was stolen by German spies, and--since his captain was responsible for the car and will be in big trouble if it's not recovered--goes behind the enemy lines to retrieve both the car and the $250,000 payroll.
'También la Iluvia' exploits Indigenous peoples' fight against the privatization of water in order to tell a story about Spanish characters.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
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The Bluff unravels its mystery slowly, opening on the capture of a ship captain named Bodden (Ismael Cruz Córdova) and the swift execution of his entire crew. Then, viewers are treated to a tranquil British settlement in the Cayman Islands in the 1850s, where a mother bakes a coconut birthday cake for her son in a house suspiciously rigged with makeshift tripwires and burglar alarms. As it turns out, that mother is Priyanka Chopra’s quick witted and resourceful ex-pirate Mrs. Ercell Bodden, and her husband’s captors are on the way to the island to hunt her down for abandoning them and stealing their loot. The pirates of the Libertas land on the beaches of Cayman Brac, and the scenes that follow show a Viking-esque slaughter of half the island.