Cuba

A commemoration of the 6th anniversary of the beginning of the Cuban revolution. 500,000 campesinos invited to celebrate the occasion pour into Havana.Read More »

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Daniel, loner and hermit, is forced to give overnight shelter to Anna, his neighbor’s niece. The need for affection and human warmth of these two injured people will emerge, turning into a romance. Things get complicated when Anna’s husband appears.

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Daniel, el Topo, hombre ermitaño e incomunicado, que goza de toda soledad posible. Trabaja como constructor y vive solo, su familia ha emigrado y hace tiempo no tienen contacto alguno. Sostiene una vida vacía y rutinaria, entre el trabajo y su apartamento. Un día los acontecimientos lo obligan a permanecer durante una noche completa con otra persona, una mujer.

Ana llega a la vida de Daniel por casualidad, escapando de un marido que la maltrata y golpea y la ha convertido en un ser lastimado y con necesidad de cariño. Su tío Raúl, vecino de Daniel, le pide a este dejarla dormir por una noche en su casa hasta que él pueda embarcarla hacia su pueblo natal.Read More »

Here is a revolutionary film: dialectical in form and content, humble in the face of real human experience, proposing no final answers except the unending struggle of a people to make something out of what history has made of them. De cierta manera is that powerful hybrid—the fictional documentary set to a tropical beat—for which the cinema of revolutionary Cuba is justifiably famous. In this instance, the documentary deals with the destruction of slum housing and the struggle against the culture of marginality generated in such slums through the creation of a new housing project (Miraflores) and an accompanying educational program. The fictional embodiment of this historical process is seen in the clash of attitudes between Mario (a product of the slums), his lover Yolanda (a teacher who has come to Miraflores to help integrate such marginal elements into the revolution), and his friend Humberto (a fun-loving slacker). In the course of telling these stories, and others, De cierta manera demolishes the categories of fiction and documentary, insisting that both forms are equally mediated by the intention of the filmmaker, and that both thus require a critical stance.Read More »

Documentary short film that shows the manufacturing process of Cuban cigars.
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Reforms have offered opportunity in Cuba but the children of the Revolution are unsure of the best route forward. For a half-dozen drag racers, this means last-minute changes to their beloved American muscle cars, as they prepare for the first sanctioned race in Cuba since 1960. Punctuated by a lively Cuban soundtrack, Havana Motor Club offers a fascinating glimpse at the resilience and ingenuity of the competitive spirit.Read More »

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A people’s court dictates that a laborer kept some tools for himself and thus deserves derision. “But, can’t we improve?” he asks, without blushing, at the moment they decide his expulsion. The story of the laborer that becomes more and more conservative runs along with another one about a conservative publicist who thinks he can foresee a solution by embracing the revolutionary cause; and what relates both reverse paths is Raúl Ruiz’s systemic pleasure for paradoxes. El realismo socialista is not a politic film but a film about politics, rough and uncomfortable in its will to demolish mythologies at the time they were being generated. These 70s Ruiz is showing are not only not glorious, but he’s also guessing they never will be, almost prophesizing the end of that (fake) utopia, all in this film that works as a parallel story to the great Palomita blanca. Oscillating between documentary record and fiction –the concept key reveals itself, or closes the film’s door, towards the end–, and with a notorious use of improvisation, Ruiz seems to confirm what he once said: “The problem with an iron script is that it gets rusty”.Read More »

In this satiric road movie from Cuba, Yoyita (Conchita Brando), a well-known singer living in Havana, travels with her niece Georgina (Mirta Ibarra), a college professor, to the village of her birth, where Yoyita is reunited with Candido (Raul Eguren), whom she loved as a young woman. When Yoyita and Candido meet for the first time in 50 years, they’re thrilled to discover that the flame of passion still burns within them; unfortunately, Yoyita is so thrilled that it gives her a heart attack, and she dies on the spot. Yoyita’s body must be transported back to Havana for burial, but while logic would dictate that Georgina should simply hire a hearse to make the journey, her husband, Adolfo (Carlos Cruz), a bureaucrat with more enthusiasm than common sense, has another idea — by transferring the body from one vehicle to another at the border of each province, the cost of fuel will be distributed more evenly along the route. No one much cares for this idea except Adolfo, but he has the law on his side, so Georgina, Candido, and Adolfo begin a long, slow journey back to Havana accompanied by truck drivers Ramon (Pedro Fernandez) and Mariano (Jorge Perugorria), who was Georgina’s student years ago. At every stop, the group meets a few of the people in each town (especially Mariano, who seems to have a girlfriend in every village in Cuba) and they share their thoughts on faith, politics, and love. Guantanamera was the final work from veteran Cuban director Tomás Gutiérrez Alea; he died before the film could be completed, so co-screenwriter Juan Carlos Tabió finished the film in his stead.Read More »

Seventh film of the retrospective, El Sueno Del Pongo(1970).Read More »