Based on Domingo Faustino Sarmiento’s text Facundo: Civilisation and Barbarism, the urban environment is considered civilized and in opposition the rural is associated with the native and barbaric (467). This way of perception defines “the others” and enhances the asymmetrical power paradigm (467). To Lange-Churion, the center stage in Martel’s movies are taken by white female characters. They belong the upper classes, but are located in provinces. Thus the marginalized natives are pushed to the background (468). Another characteristic of Martel’s films is that they do not succumb to the Hollywood recipe of storytelling, but rather rely on “gestures, moods, repeated motifs, incomplete and almost spasmodic dialogues, parallel framing” (469). This approach to filmmaking is intentional by Martel, who dislikes the viewer to be complete immersed in the viewing (470). To her this prevents the viewer from critically examination of her films (470).
I can argue that this observation is based on other bourgeois perception – elegance demands quietness. The louder people are the less sophisticated they seem. The Swamp, successfully reverse the male/female roles by portraying the female characters as the driving force and the male characters as passive participants.