“In Amazonian Peru, the maninkari are guardians of all living things, flesh and spirit, man and god. They maintain the balance of nature in an uncivilized world.”

The opening title of “Maninkari”, and its explanation of its titular manifestation, gives no hint to the ambiguous nature of life in the jungle. The supposed villain of the piece, the sadomasochistic Saladin, wavers between the uncontested power he holds as the leader of this jungle community which allows him to command the army and collect a harem, and his uncontrolled capacity to chase and be struck by women he finds attractive.

Saladin, the conventional villain of Maninkari, enjoys striking people with his cane and in turn welcomes a retaliatory blow in return. He is a hunter and his prey is an attractive female, unnamed in the film, and he seemingly wants to groom her into his harem.

Like a crocodile smelling blood in the water, Saladin relentlessly chases his prize. Is it not fate that her appearance coincides with his lust? Her brief encounter with her pursuer leads to violence and it is her intent to keep her distance in the future. But Saladin, after summoning his army, has a different idea.

Many people pray, with different success rates, when the difficulties of life befall them. The appearance of the maninkari, instigated by the natural imbalance of morality, becomes a deus ex machina to save the girl and rescue the day.