a blend of convenlional hagiography and
invenlive nise-en-scene. Faúl Pérez Urela´s
slunning cinenalography, a winner of lhe
Ñalional Prize for Cinena, nakes lhe nosl of
lhe counlry´s slunning lighl.
Memories of OverdeveIopment (ìenorias
de| desarro||oì, a US$50,000 fln nade over
fve years in lhe US and Cuba by guerrilla
flnnnaker íiguel Coyula, is a unique
conpanion lo Tonas Culiérrez Alea´s
ìenories o! Underdeve|opnen!, a classic of
Cuban cinena. Sergio, an ideological relalive
of Alea´s nain characler 40 years laler, is now
an exile in lhe Uniled Slales, weighed down
by nenories and renorse for pasl aclions. A
producl of lhe digilal generalion, lhe fln ranks
as one of lhe besl lhis counlry has produced.
Lisanka, a new conedy by Daniel D|az Torres,
lells lhe slory of a young peasanl wonan,
enployed as a lraclor driver near a nililary
base during lhe niddle of lhe íissile Crisis
of Oclober, 1962, who is courled by lhree
possessive nen. Sone inlerpreled lhe nain
characler as a represenlalion of Cuba, as she
refuses lo be objeclifed by her suilors, one of
whon is a Fussian soldier.
n conlrasl lo lhe polilical and fornal
correclness of lhe Cuban cinena induslry,
lhe energence of fresh lalenl working
independenlly or supporled by inslilulions
such as lhe Higher ínslilule of Arls (íSAì or lhe
ínlernalional School of Cinena and TV (EíCTVì
conlinues lo offer slrong signs of revilalisalion.
ín lerns of fln language, íSA produclions veer
lowards lhe slyle of nusic videos, while lhose
al lhe EíCTV are nore grounded in arl house
or experinenlal cinena.

íayckell Pedrero´s RevoIution, a porlrail
of lhe quasi·underground rap group, Los
Aldeanos (The Villagersì, received lhe lop prize
al an annual conlesl for young lalenl. Banned
fron exhibilion, lhe fln has been widely
dislribuled via illegal DVD copies. Allhough lhe
work suffers fron a fasler·lhan·life approach
lo ediling lhal sone see as quinlessenlial
cinena, lhe anli·eslablishnenl allilude and
opinions of Los Aldeanos do fnd a curious
correlalive in such a slyle.

The childhood and adolescence of lhe Cuban
nalional hero, José íarl|, was recrealed by
Fernando Pérez in José Martí, the Eye of
the Canary (José ìar!i, e| ojo de| canarioì.
Covering his fornalive years, lhe fln was
Miguel Coyula’s Memories of Overdevelopment
Mayckell Pedrero’s Revolution
Cuba Jorge Yglesias
íf lhe young flnnakers renain innune lo
lhe Buena Visla Social Club syndrone and lry
lo renain failhful lo lheir visions inslead of
beconing prisoners of banalily, Cuban cinena
will renain lively, producing flns lhal will be
worlh seeing.
The year's best hIms
memories of OverdeveIopment
(íiguel Coyulaì
José martí, the Eye of the Canary
(Fernando Pérezì
RevoIution (íayckell Pedreroì
The BeIIy of the WhaIe (Orisel Caslroì
20 Years (Barbaro Joel Orlizì
Ouote of the year
‘I speak about Cuba´s reality, because I live
here. I don´t know any other land, other lives
than these. If I were living in France, I would
speak about France. If I were living in New
York, I would speak about New York.’ A member
of Los Aldeanos.
All Tel/Fax nunbers begin (+53ì
Cuban Institute of Art and Cinema Industry
(ICAIC), Calle 23, Ño 1155, Enlre 3 & 10,
Vedado, Havana. Tel: (7ì 3333650. Fax: 3333231.
inlernacional@icaic.cu. www.cubacine.cu.
EscueIa InternacionaI de Cine y TV, Carrelera
Vereda Ñueva, Kn 4½, San Anlonio de Los Baños.
Tel: (47ì 333152. Fax: 332366. eiclv@eiclv.org.cu.
FestivaI InternacionaI deI Nuevo Cine
Latinoamericano, Calle 2, Ño. 411, Enlre 17 &
19, Vedado, Havana, Cuba CP 10400. feslival@
feslival.icaic.cu, habanafesl@feslival.icaic.cu (vorld
Fegislralionì. www.habanaflnfeslival.con.
Barbaro Joel Orliz´s 20 Years (20 añosì is a
landnark of Cuban aninalion. Based on a
popular song, lhis shorl fealure uses slop·
nolion lechnique lo charl lhe rise and fall of
a relalionship. ínHuenced by lhe greal Czech
aninalor Jan Svanknajer, Orliz worked for
lhree years lo achieve a work whose lender
nenories energe painfully anidsl a couple´s
daily rouline.
Orisel Caslro´s The BeIIy of the WhaIe and
Music Box are lwo good exanples of how
docunenlary flnnakers lrained al lhe EíCTV
have an eye for depicling realily wilh subllely.
The Be||, o! !he Vha|e, flned in reverse, sees
geslalion as a heroic process nade of efforls,
fears, uncerlainlies, hopes and expeclalions,
ìusic Box highlighls lhe uninlenlional
hunour of regislry·offce weddings. ín bolh
cases, Orisel Caslro enploys a fragnenled
narralive, fake analeur cinenalography and
olher devices lo presenl his worlds. Anolher
inleresling docunenlary, albeil less anbilious,
was Jessica Fodr|guez and Zoe íiranda´s The
WorId of RaúI (£| nundo de Faú|ì, which deals
wilh an eccenlric oplonelrisl who lalks aboul
his lasles, daily life and how he becane a
peeping Ton.
Bárbaro Joel Ortiz’s 20 Years
Bárbaro Joel Ortiz’s 20 Years
JORGE YGLESIAS is a poel and fln crilic,
and Professor of Filn Hislory and Chair of
Hunaniles al lhe ínlernalional School of Filn
and Television of San Anlonio de los Baños,

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