Sergio (Sergio Corrieri), through his life following the departure of his wife, parents and friends in the wake of the Bay of Pigs incident. Alone in a brave new world, Sergio observes the ... See full summary »
Produced at the height of the Vietnam War, Emile de Antonio's Oscar-nominated 1968 documentary chronicles the war's historical roots. With palpable outrage, De Antonio (Point of Order, ... See full summary »
Emile de Antonio
Harry S. Ashmore,
Husband (senior ministry official) and wife find their house is riddled with listening devices put there by his own ministry. A harrowing night follows (reminiscent of 'Who's Afraid Of ... See full summary »
This Oscar nominated film is the story of two men who are opposites, one gay, the other straight, one a fierce communist, the other a fierce individualist, one suspicious, the other accepting, and how they come to love each other.
Tomás Gutiérrez Alea,
Juan Carlos Tabío
In the fascist Italy of 1935, a painter trained as a doctor is exiled to a remote region near Eboli. Over time, he learns to appreciate the beauty and wisdom of the peasants, and to ... See full summary »
Gian Maria Volontè,
A poor family in the Northeast of Brazil (Fabiano, the father; Sinhá Vitória, the mother; their 2 children and a dog called Baleia) wander about the barren land searching for a better place... See full summary »
From 1940 to 1944, France's Vichy government collaborated with Nazi Germany. Marcel Ophüls mixes archival footage with 1969 interviews of a German officer and of collaborators and ... See full summary »
Lucia is a great film, but to properly evaluate it the viewer has to have a certain amount of knowledge about Cuba and its people. Others who have criticized it seem to show a dismal knowledge of Cubans. The typical criticism runs rife with a lack of understanding of what the director's intentions were, and even to the point of bordering on crude stereotyping. Cubans are a passionate people with an intelligent sense of humor. What may appear as overdone acting and caricatures may often be purposeful hyperbole to dramatize certain points by employing satirical license. Lucia was MEANT to be funny and satirical. If the viewer is prejudiced against Cubans, he may instead laugh AT rather than with the director and his cast. The joke is on him who fails to see the real picture. The Cuban revolution promised not only liberation from chauvinistic practices against women but also was supposed to have eliminated racism, which actually was very much alive in Cuba before Castro. Viewers unaware of the marked racial heterogeneity of Cubans (the whole spectrum of races and colors, including Northern European types), not typically found in most Latin American countries, would view the elimination of racism as ludicrous, because of the mistaken belief that "everyone in Cuba is brown and of the same race." This focus on racism was part of the lampooning in this movie, particularly in the second "Lucia", unfortunately lost on some viewers whose comments are posted in this forum. As for women's liberation, I would direct the laughing hypocrites at the history of this country, the USA, in its belated acceptance of suffrage. Women in the US weren't allowed to vote until well into the twentieth century! The third "Lucia" was subject to the very universal experiences of an insecure spouse. Is that uniquely Cuban? Of course not. What made this film attractive and a superlative work of art was the co-mingling of the unique Cuban experience with the universal features common to all of humanity. Any normal human being can see in "Lucia" the familiar microcosmic events that scaffold the overbearing macrocosmic events of a revolution, a relationship that the director clearly wanted to convey as a process that did not begin in 1959, but actually much earlier in Cuban history and projects into an uncertain future as well. This continuum, reflected in the sequentially arranged personal lives of three women, is the main message of this very intelligently composed movie.
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