Three characters in present-day Havana must choose between clinging to their self-restricting beliefs, or getting rid of them to live more freely. Ballerina Mariana has promised God ... 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 a tale akin to Romeo and Juliet, the friendship between two children is threatened by their parents' differences. Malu is from an upper-class family and her single mother does not want ... See full summary »
Juan Carlos Cremata Malberti,
Iraida Malberti Cabrera
Malú Tarrau Broche,
Luisa María Jiménez Rodríquez
At age 42, Rafael Belvedere is having a crisis. He lives in the shadow of his father, he feels guilty about rarely visiting his aging mother, his ex-wife says he doesn't spend enough time ... See full summary »
An intellectual leaves the Cuban revolution and 'underdevelopment' behind only to find himself at odds with the ambiguities of his new life in the 'developed' world. A portrait of ... See full summary »
Three characters in present-day Havana must choose between clinging to their self-restricting beliefs, or getting rid of them to live more freely. Ballerina Mariana has promised God celibacy if she gets the role of "Giselle"; Social-worker Julia always faints after hearing a certain word; and pot-smoking percussionist Elpidio was abandoned by his mother, coincidentally named Cuba, some time ago and has not yet gotten over the loss. Written by
Even as Cuban films go, LA VIDA ES SILBAR, a festival-circuit darling from Berlin to Havana throughout 1999, is unusual. Not political (great!), not driven by a single plot, and exploring themes such as religion and mysticism, the film deals with present-day Cuban life for the lucky few in the intellectual artistic milieu. Having said that, situations confronting this segment of Cuba's population are realistically portrayed and again without an obvious political agenda. The movie inspires a spirit of hope (very needed to survive in Cuba) through a budget production which is in itself a statement of Cuba's film industry and indeed its economy. Though the film is not really accessible to most viewers, even among the "arthouse" crowd, I would definitely recommend it to Latin American film buffs well versed in Cuban cinema.
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