Cuban filmmaker Eduardo del Llano, known as the eternal enfant terrible of the official audiovisual scene, has once again stirred up social media with a public outburst. This time, his frustration stems from being "completely ignored" by the Havana International Festival of New Latin American Cinema.
"This year the Festival ignored me completely," Del Llano posted on his official Facebook page. "No credentials, no invitation, not a word. They can shove the Festival," he added, maintaining his signature mix of bitterness and sarcasm.
According to Del Llano, neither the ICAIC nor the Festival Office bothered to include him among the invited guests, despite his longstanding involvement in Havana's film industry. "Until last year, they gave credentials to filmmakers with a certain track record, even if they didn't have work competing," he lamented.
Two hours after his outburst, a miracle happened: a call from the Festival itself informed him that his credential was ready. "Something they should have done a week earlier," he remarked. He then added, in a more conciliatory tone, that he would use it "to watch movies, because that's what interests me."
This scenario inevitably brings to mind the recent tantrum by troubadour Raúl Torres, who lamented on Facebook that the Cuban Music Museum had overlooked him in its permanent exhibition. However, unlike Torres, who ended up singing at a regime event "for the deaf," Del Llano—quicker, craftier, and more media-savvy—secured his credential in record time, without needing to showcase his work to an audience of the indifferent.
Both share the same underlying issue: the plight of the forgotten Fidelista artist. Torres demands recognition for his tribute to Fidel; Del Llano, for his series of revolutionary satires that once challenged the system but now entertain without risk.
Del Llano, who recently defended the right of the Cuban police to be "more repressive," now demands his right to be invited to the festival he helped legitimize. It's a paradox as Cuban as his own cinema: tragicomic, self-referential, and with a hint of domestic punishment.
In a second post, the filmmaker expressed gratitude to his supporters and gave a nod to his critics: "Thanks to the c@mep!ngas who took the opportunity to insult me; thanks to them, I've surpassed the barrier of 2,000 blocked users. Onward and upward!"
And although he will now be able to watch his favorite films at the 23 and 12 venue, the incident underscores that, in official Cuba, neither loyalty nor irony ensures a reserved seat.
Insights into Eduardo del Llano's Festival Snub
Why was Eduardo del Llano upset with the Havana Film Festival?
Eduardo del Llano was upset because he felt completely ignored by the festival, receiving no credentials, invitation, or acknowledgment despite his significant contributions to Cuban cinema.
How did Eduardo del Llano eventually receive his festival credentials?
After expressing his frustration publicly on Facebook, Del Llano received a call from the festival notifying him that his credentials were ready, rectifying the oversight.
What comparison is made between Eduardo del Llano and Raúl Torres?
Both artists experienced similar feelings of being overlooked by official Cuban institutions, but Del Llano quickly secured his credentials through his media-savvy approach, unlike Torres who had to perform at a regime event.