Actor Sergio Corrieri, the film’s star, was interviewed when Titón’s film turned forty. But he died shortly after the interview and his latest testimony has become a valuable piece that pays tribute to the actor and the filmmaker, who also died not long ago. The emblematic film is considered one of the major works in both Cuban and international cinematography.
Issue 167 of Cine Cubano dedicates some of its pages to several considerations about criticism. It bisects the craft these days and the new spaces to exert it on La revolución de los blogs y la crítica tradicional en el cine (The blog revolution and cinema traditional criticism), a story by Juan Antonio García Borrero. La crítica cinematográfica: reflexiones a tiempo (Film criticism: reflections on time) is an interview with prestigious filmmaker Julio García Espinosa, who talks about his experience as a thinker and a theoretician.
Erotismo y nación en el cine de Humberto Solás (Eroticism and nation in Humberto Solás’s films) by Rufo Caballero; Cine cubano del siglo XXI: Tenue autoría, se imponen los géneros (Cuban cinema in the 21st century: Subtle authorship and genre imposition), by Joel del Río; and Historias animadas de ayer y de hoy (Past and present animated stories), by Aramís Acosta, are part of the traditional and necessary panoramic analyses about the Cuban film production.
Caballero’s story focuses on the evident articulation between the processes of “the dramatic building of eroticism and dramaturgic metaphors about the construction of the nation” seen in Humberto Solás’s films. Joel del Río displays the spectrum of genres mostly used in Cuban cinema between 2001 and 2007, while the auteur theory, so common in the early years of the Instituto de Arte e Industria Cinematográficos (ICAIC), is currently going downhill. Aramís Acosta tells the story of the animated cartoons production from the silent film era to the foundation of the ICAIC Animation Studios in 2003.
News and confidences about the films currently in their production stages fill the Dolly Back section of the mag. Three stories, El premio flaco, la nueva aventura de Juan Carlos Cremata; El cuerno de la abundancia. Anotaciones de un rodaje para no perder la fe, and El sacro silencio de la mafia según Pavel Giroud, comment on the particularities of the shootings and other adventures during the film productions.
The mag also includes Una nota sobre el marxismo, poética y cine, a story by Spanish Francisco Fernández Buey; Sobre lo híbrido, el kitsh y el folk market, by Argentinean author Adolfo Columbres; La insoportable potestad del tema, by José Alberto Lezcano; and Los guionistas estamos de moda, reflections about the role and acknowledgement of scriptwriters in the film industry. Its author, Patricia Ramos, is the scriptwriter and filmmaker of fiction short El patio de mi casa, chosen in 2007 as the best in its category by the Cuban Media Association.
(Cubanow)
Issue 167 of Cine Cubano dedicates some of its pages to several considerations about criticism. It bisects the craft these days and the new spaces to exert it on La revolución de los blogs y la crítica tradicional en el cine (The blog revolution and cinema traditional criticism), a story by Juan Antonio García Borrero. La crítica cinematográfica: reflexiones a tiempo (Film criticism: reflections on time) is an interview with prestigious filmmaker Julio García Espinosa, who talks about his experience as a thinker and a theoretician.
Erotismo y nación en el cine de Humberto Solás (Eroticism and nation in Humberto Solás’s films) by Rufo Caballero; Cine cubano del siglo XXI: Tenue autoría, se imponen los géneros (Cuban cinema in the 21st century: Subtle authorship and genre imposition), by Joel del Río; and Historias animadas de ayer y de hoy (Past and present animated stories), by Aramís Acosta, are part of the traditional and necessary panoramic analyses about the Cuban film production.
Caballero’s story focuses on the evident articulation between the processes of “the dramatic building of eroticism and dramaturgic metaphors about the construction of the nation” seen in Humberto Solás’s films. Joel del Río displays the spectrum of genres mostly used in Cuban cinema between 2001 and 2007, while the auteur theory, so common in the early years of the Instituto de Arte e Industria Cinematográficos (ICAIC), is currently going downhill. Aramís Acosta tells the story of the animated cartoons production from the silent film era to the foundation of the ICAIC Animation Studios in 2003.
News and confidences about the films currently in their production stages fill the Dolly Back section of the mag. Three stories, El premio flaco, la nueva aventura de Juan Carlos Cremata; El cuerno de la abundancia. Anotaciones de un rodaje para no perder la fe, and El sacro silencio de la mafia según Pavel Giroud, comment on the particularities of the shootings and other adventures during the film productions.
The mag also includes Una nota sobre el marxismo, poética y cine, a story by Spanish Francisco Fernández Buey; Sobre lo híbrido, el kitsh y el folk market, by Argentinean author Adolfo Columbres; La insoportable potestad del tema, by José Alberto Lezcano; and Los guionistas estamos de moda, reflections about the role and acknowledgement of scriptwriters in the film industry. Its author, Patricia Ramos, is the scriptwriter and filmmaker of fiction short El patio de mi casa, chosen in 2007 as the best in its category by the Cuban Media Association.
(Cubanow)