Tagged: Cuban cinema

Fidel Castro 1926 to 2016

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The great leader of the Cuban Revolution and an iconic figure for progressives will be mourned by many. As in life, in death he divides people. The most extreme being the rather nasty celebrations in Miami. Whilst in Cuba the majority of citizens recognise both the loss and his great contribution. The media coverage so far has been predictably inadequate. The BBC echoes the political establishment whilst Sky News could not even gets the dates of the US boycott correct. Even Al Jazeera suggested Cuba “brought the world to the brink of nuclear war”: actually it was the USA in the recurring war-mongering mode. In the UK the best comment has been on the RT Channel (113 on Freeview].

Whatever the failings of the Post-revolution society under Fidel it did liberate the Cuban people from US neo-colonial exploitation and was a beacon for other National Liberation struggles round the world. Hence tributes have been pouring in from the oppressed peoples and nations. Certainly there are few other leaders in the second half of the 20th century who maintained such a resolute resistance to US imperialism and neo-colonialism.

There were many progressive aspects of the Cuban Revolution, notably the work of Instituto Cubano del Arte e Industria Cinematográficos / The Cuban Institute of Cinematographic Art and Industry (ICAIC) founded immediately after the revolution in 1959.

At ICAIC Julio García Espinosa produced the key manifest ‘For an Imperfect Cinema’ (1969). And numerous films in the early stages illustrated how relevant this was. A key film would be, Memorias del Subdesarrollo (Memories of Underdevelopment, 1968) directed by Tomás Gutiérrez Alea. A later and equally fine film by Alea is La última cena (The Last Supper, 1976). I particularly like Humberto Solás’ Lucía (1968). Then there are the newsreels and documentaries of Santiago Alvarez: notably Now (1965) and 79 Springs / 79 primaveras, Cuba 1969. And there is the rarely seen work of Sarah Gómez including her final film De Cierta Manera (One Way or Another, 1974). Of more recent films there is the fine La vida es silbar (Life is to Whistle, 1998) directed by Fernando Pérez. This was part of a season of then recent Cuban films programmed at the National Media Museum. My colleague Roy Stafford was involved and introduced several of the films.

Alongside the films went the vibrant and politically alive poster art work. And a number of films were graced by the modernist scores of Leo Brouwer. The cultural and educational aspects of ICAIC are best presented in the excellent and inspiring For the First Time (Por primera vez, 1967), which made a fine introduction to a screening  of Chaplin’s Modern Times (1936).

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The progressive work from the Cuban film movement is part of the anti-colonial cinema in Latin America. Cuba provided a base for the Festival to celebrate New Latin American Cinema. They also supported progressive filmmakers of the continent as with Patricio Guzman’s three-part La batalla de Chile / The Battle of Chile (1975-1979).

A number of influences fed into the film work at ICAIC. But a key model for them was the classic Soviet Montage. We are nearly in 2017 and the centenary of the Great Proletarian Revolution. So the radical Cuban films offer excellent accompaniment to re-visiting the masterworks from the 1920s.

¡Viva! 22 #4: Juntos y revueltos: El Mejunje de Silverio (Cuba-Spain 2014)

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A drag artiste performing at El Mejunje

The title of this documentary in English is something like ‘Together and Blended’, but the official English title is Side by side, eye to eye, which doesn’t seem to mean quite the same. The second part refers to ‘El Mejunje’, a cultural centre/club based in a former hotel donated to the community by the Cuban government. The club offers children’s shows, rock concerts and other forms of light entertainment and it is also a meeting place for the local LGBTQ community in Santa Clara, a city of 250,000 people in Central Cuba.

Spanish director Nicolás Muñoz Avia has produced a 66 minute account of the club and its members divided into nine sections or ‘ingredients’ as the English subs call them. These refer in different ways to ideas about self-worth, relationships and community, expressed through titles like ‘self-love’, ‘mother’s love’, ‘lovesick’ etc. We are introduced to a range of characters, each of whom we see in observational mode with friends and family, but also as ‘witnesses’ to the activity of the club, speaking directly to camera. Finally, we get to see some of these characters performing in the clubs walled courtyard (see above). In addition, there are several more formal interviews with people who give us deeper background on the club. The image quality of the film is good. The soundtrack is a little rougher at times, but perfectly serviceable.

The various club members/visitors include a local trans performer who is the first officially elected local government representative of the community, a rock band and a dance band of older players, a couple of schoolgirls, an older lesbian couple and a local man who is an alcoholic and who relies on the club and community to look out for him. This latter episode involves ‘tough love’ by the club who ban the man for a week and urge him to clean up his act (club members have already cleaned out his room for him). There is another family group with some ‘issues’ about a feckless young man but on the whole this is not an exposé or a sensationalist reality TV type of documentary. Instead it is a relatively conventional doc about a cultural centre that gives potentially marginalised groups a social space. What was most striking for me was to see a portrait of Cuba without either tourists or the set agenda of many reports that always seem ready to criticise or undermine (this is especially true of some reports on the BBC and in the supposedly left-leaning Guardian newspaper). The documentary here stresses the official sanction/donation of the building and several of the organisers profess their solid support for the revolution, perhaps over-emphasising this when a performance takes place in front of the national flag and portraits of Fidel and Che (which don’t appear on other clips of the club on YouTube). On the other hand, when a revolutionary speech plays on the PA during a performance, the younger members of the audience look bemused or indifferent. It’s telling too that a young guy in a rock band tells us that he’s just spent all his money to keep his amp working. “What else can we do?” he says, “We just want to play our music”.

It’s good that this portrait of Cuban life doesn’t come to us from Havana (though the opening images do – the film starts on the Malecon) because it gives us a different sense of Cuban society. With recent visits by the Pope and Barack Obama, the question of Cuba’s future comes ever more into the spotlight, so I hope this film gets more outings in Europe and North America as well as Latin America. This was its official UK première – another first for ¡Viva!

Useful trailer (but no English subs):

7 Days in Havana (7 días en La Habana, France/Spain/Cuba 2012)

Melvis Estévez is Cecilia, the young singer torn between a new future in Spain or staying with her boyfriend

A ‘portmanteau’ film typically offers two or more short films collected together and presented as a single feature. The concept was once quite popular in Europe during the 1960s and is sometimes now used as a vehicle for directors commissioned by film festivals. 7 Days in Havana offers films by six well-known auteur directors plus the Hollywood actor Benicio Del Toro with his second short. Each film is set in Old Havana, featuring the Hotel Nacional, the Malécon and the area around El Capitolio. A small group of characters appears in more than one film, but some of the films are completely separate in terms of characters and stories. Cuban writer Leonardo Padura wrote three linked stories with his partner Lucia López Coll; the directors themselves created the other stories. The production was supported by Havana Club, the Cuban rum producer involved in promoting Cuban arts and culture internationally. The film is stuffed with Cuban music, but strangely no ballet.

In Anglo-American film culture this type of film seems to be termed an ‘anthology’ film and it has a very poor reputation. It’s odd then that in the UK, the British Film Institute’s P&A fund should have supported the film’s release from Soda Pictures so that it has appeared for a week in the two multiplexes in Bradford rather than a limited number of showings in our specialised cinema. I feared the worst when the box office figures came out – and they showed a derisory screen average of £362 across 30 sites for the opening weekend. I don’t quite understand why Bradford’s two multiplexes were in that group. Perhaps Soda Pictures can explain why they did it?

A quick glance at some of the UK critics’ responses to the film reveals mainstream reviewers who don’t know much about French or Hispanic cinemas and are completely baffled by the best of the seven offerings from Elia Suleiman. In his segment the Palestinian director, always his own leading man, is a solitary visitor to Havana seemingly caught between Fidel Castro’s speeches on his hotel room TV set, the views out over the sea and the stately grandeur of the Hotel Nacional’s gardens. This segment has some glorious cinematography, catching the light perfectly. Lots of Europeans, including many Brits will have visited Old Havana and I’m tempted to say that, along with the music, the views of the city are themselves worth the price of a cinema ticket. And indeed some reviewers put the film down as simply ‘touristic’. But that’s misleading. Suleiman’s segment is an exquisite piece of art cinema and most of the other stories are more genuinely concerned with real social issues for the residents of the city than with tourist images.

Working out who had directed which segment was not too difficult. Del Toro’s features an American film student/novice actor looking for night-time ‘action’ and it was the least successful for me. With its film festival theme it set up Emir Kusturica the Serbian director playing a version of himself rather ungraciously receiving a festival tribute but bonding with his assigned driver, a trumpeter who takes his guest to a local jam session. This was a film by Pablo Trapero, the Argentinian director who is actually a big fan of the Havana Film Festival – one of the most important events for Latin American Cinema. Gaspar Noé played his usual ‘controversial’ card with a Santeria ritual carried out in an attempt to ‘cure’ a young teenage girl of her love for a girlfriend. I found this quite disturbing but compelling. Julio Medem offered star power in the shape of Daniel Brühl as a Madrid agent attempting to lure a night-club singer to Spain – effectively breaking up her relationship with her boyfriend, a baseball player who would rather take a raft to Miami. This led into the stories by the Cuban filmmaker Juan Carlos Tabio and French director Laurent Cantet, both of which offer narratives associated with particular aspects of Cuban society – doing more than one job, shortages of various foodstuffs and household goods, working together as a community etc. Stylistically these three stories become like a form of Cuban telenovela – and offer roles for well-known Cuban actors such as Mirtha Ibarra, Jorge Perugorria and Vladimir Cruz.

But what you want to know is “Is this as bad as the critics say?” No, it isn’t, these are all talented filmmakers, but the format is difficult to handle. It’s hard for me to judge perhaps because a) I know at least some of the work of all the directors, b) I support Cuban cinema, c) I like Cuban music and d) I’ve been a tourist staying in ‘Old Havana’. I couldn’t fail to find the film interesting and much of it enjoyable. If you are approaching the film cold, it may be more of an uphill struggle. Although artistically the two strongest segments, the contributions by Suleiman and Noé are separate from the other five stories which could be made to work together – but then why not have a single script and one director? Perhaps the other missing ingredient is a bit more fantasy that could be injected into the melodrama?

BIFF 2012 #2: Juan of the Dead (Juan de los muertos, Cuba/Spain 2011)

Juan (with the oar), his daughter Camilla, Vladi (with the baseball bat) and Lazaro

Is it possible to develop a sophisticated political discourse as part of a hugely funny and very gory zomcom? You bet! – and Juan of the Dead provides the evidence. I never expected to see a Cuban movie in a multiplex but now I have and with Metrodome handling UK distribution (it opens on 4th May) you’ll get the chance too (although only in ‘Key Cities’ as the current distribution jargon has it).

Inspired by both George Romero and Edgar Wright, director Alejandro Brugués offers us two middle-aged ‘jack the lads’, first spotted on their fishing raft a few hundred metres from the Malecón, Havana’s famous promenade. As Juan and Lazaro begin to despatch zombies in a matter of fact way, they see television announcements which refer to ‘dissidents’ who are causing trouble in the city. ‘Dissidents’ can only mean a yanqui plot as all Cubans know. The basic premise of the film is that in Cuba, there are three possible responses to any new problem for ordinary Cubans. First, consider opening a business, second, just ignore the problem and carry on stoically and third, steal a boat or build a raft and leave the country. Our heroes are going to consider all three and Juan is confident that he will make it since he has already survived the Mariel boatlift, war in Angola and the Special Period (after the Soviet Union collapsed and the Cuban economy went into meltdown). Zombies offer just an opportunity to make some extra money but along the way Juan will have to consider what friendship and family mean to him.

This is a truly Cuban movie with a catalogue of jokes and sight gags with a distinctly Cuban flavour. When a car won’t start, it’s because it’s a Russian Lada. The characters who aid Juan include a very camp character and his hugely-muscled partner (with one fatal weakness) – sport and gay culture being concerns in various Cuban films. The only way to find the limited funds – a $1.6 million budget – to make the film was through a co-production with Spain which means that Juan’s daughter is played by a Spanish actress and the plot requires that her mother has not only left Juan but Cuba as well. There may be some audiences who recognise that the whole film is an allegory of the failings in Cuban society (the director jokes, rather like Simon Pegg, that the Cuban population often appear like zombies) and who wonder why the authorities allow this. But there is a long tradition of satire in Cuban Cinema, most famously in the work of Tomás Gutiérrez Alea and Juan Carlos Tabio. The Cuban state film agency ICAIC was involved in the production and I’m sure they will be pleased by the success I feel sure that the film will find in international markets. Having said that there is a rather po-faced put-down of the film on IMDb, arguing that the film fails to offer the correct political message and thus is not a worthy successor to Romero’s Night of the Living Dead.

Of course you don’t need to know anything about Cuban cinema to enjoy the film as a romp through cleverly re-imagined tropes of the zombie movie. The cast is very good, especially Alexis Diaz de Villegas as Juan. The special effects are endearingly naff but work very well – and do stay through the credits which feature Sid Vicious and some very nice graphics. I hope the film does excellent business and raises the profile of Cuban cinema.

Official website

I quite like this ‘teaser’ trailer (mostly because it doesn’t show all the gags in the film)