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domingo, 4 de enero de 2015
“In the 21st century it is absurd to ask if a Cuban is from inside or outside”.
Reinaldo Cedeño Pineda escribanode@gmail.com
Rolando
Diaz is a man of islands. He is a man of roads. He is a man of cinema. In these
circumstances he has been submerged in many ways.
The
filmLos pájaros
tirándole a la escopetais like an amulet
under his skin; but his devotion for the cinema did not stop there; no
stinging, or distance has stopped him. The past, the present emerge from his
own creator threads…
If
taking a look at his work as a documentary filmmaker, screenwriter and
director, to the stage of the creative groups formed in Cuban cinema, what
works and what colleagues would you keep?
They
were contradictory years, but with a lot of creative illusion. My approach to
Tomás Gutiérrez Alea, greatly enriched my way of seeing cinema and life.
Rocinante Group is something I never forget, especially my deeper bond with
Juan Carlos Tabio and Rapi Diego -my preferred within the Creation Group,
without ever leaving my brothers in Cuban cinema; Daniel Díaz Torres and
Fernando Perez who belonged to another group. I want to highlight the important
role played by the then president of the Cuban Film Institute (ICAIC by its
Spanish acronym), Julio García Espinosa, promoter of the Creation Groups.
The
film that characterized that era wasAlice in WonderlandVillage, which though was not made by my group, but Daniel
Diaz’s, shook the foundations. It received a brutal attack -the word is not
exaggerated, by an official position very distant from ours.
It
was terrible what arose around that witty story, and resulted in the union of
the filmmakers and almost all ICAIC workers “Who killed the Commander?
Fuenteovejuna, Lord … “Such was the spirit of that time although the official
rejection to the film then prevailed over the desire of filmmakers and film
workers … But ICAIC remained. That was an achievement.
A
film likeLos Pajaros tirándole a la escopeta(1984), beyond its comedy
status, is in my view a demonstration of its ability to appropriate the Cuban
wit and from there, to dialogue with society. How much has this film given to
you over time? Have you bothered being associated too much with this title?
At
best and worst sense,Los Pajaros…is
something ubiquitous in my life. Not a single day goes by in which someone to
remember it me. Even those who once vilified it now recognized it. It was a
walk through elements of Cuban identity. But I am quite aware that it was not a
great movie. However, it’s been 30 years and it is still there.
In
that sense, it hurts me a lot that other part of my work is not valued, it is
censored, just few talk about it or is shown with limitations in Cuba. I s tart
the tour withMelodrama,
more scathing and irreverent that the
aforementioned film and that has been ignored by ICAIC. The average Cuban is
unaware of its existence. Perhaps it is too late to make room for it. If at the
time it had been exhibited without limitation, it would occupy another place in
the collective memory of Cuba,
and perhaps Los Pajaros …would have had to share its reference with this other
title.
I
continue withSi me
comprendieras, even more ignored thanMelodrama. It is a docudrama with a strong impact outside Cuba, but it
was exhibited very few here. We know it’s weird that documentaries to be
massively acclaimed by viewers, but perhaps, without implying any artistic
comparison, if it had had the opportunity to have an exhibition like Suite Habana, excellent movie by my friend Fernando Pérez, things would
have been different.
How a
creator of your experience reconstructs and feels Cuba from its immediate environment
and from himself, even if he is far from the island?
Cuba, the country as a nation, has never
been separated from me. I stopped to identify it only as a Revolution: I see it
as a country of all Cubans, and when I say all, I mean it in its most inclusive
sense. From this reflection I madeActresses, Actors, Exile,
a tour on icons of Cuban cinema who live outside the island; but who do not
cease feeling it, because it also belongs to them. In the 21st century it is
absurd to ask if a Cuban is from inside or outside.
The
subject of exile is recurrent in your work in recent years. After those looks,
how does the exile mark a creator and a human being? How much does it enrich
you?
Nostalgia
never abandons those who left Cuba.
Neither those who profess to be farther from Cuba and its reality are far apart
from Cuban topic as they say. What happens is that there are always those who
seek to identify the nation with political ideas of one sign and that is where
everything goes wrong.
The
films I have made with Cuban issue have a difficult insertion. By having no
Cuban nationality, by being made outside Cuba, they are works that have no
country, become stateless products that usually remain in limbo. Inscribe them
in Festivals is complicated. Often countries have laws that do not allow them
to assign nationality of where they were made.
Therefore,
I prefer to make films that touch indirectly related topics all Cuban Diaspora. Cercaniaor the documentaryActresses, Actors, Exile,
tell stories in which Cubans are directly involved. What would have happened if
at the timeCercaniahad been normally displayed in Cuba? What could have been the fate
of a film that I’m sure would have had “impact” in Cuban movies? Then it is
worth wondering whether the Cuban people would know me only byLos Pajaros…
I
know thatCercaniawalks the country among the famous “packages” or rented
copies of poor quality. I know it; but it saddens me thatCercaniaand other
proposals have to be viewed that way, never having gone through commercial
cinemas.
InCercania he characters go from one end to the other of political
ideas. Those who inhabit these poles express their views without restrictions,
but the family, friendship, tolerance joins them. In the end all the characters
end up understanding, accepting each other. I’m not giving an assessment that
does not correspond to me; I only made clear my purposes.
Los
caminos de Aissais
a docudrama with more universal looks, but that does not stop hiding our
absences, loneliness or the presence of differences. It is represented by an
African woman who needs to be European and not to be alone, who needs to be
admitted despite being black and Go-Go ballerina in a society that accepts her;
but of which she, nevertheless, is not part. These experiences are acquired by
living outside the usual environment and enrich us towards to be more universal
beings. It is a spiritual gain of great magnitude.
The
character of Rolando Diaz is not the same inLos Pajaros tirandole a la Escopetathan that ofSi me
comprendieras, film made in Cuba, but
already living abroad. It is not the same the one ofCercania or La vida segun Ofelia-a
fully Spanish film – and the one considering the emigrant pain inEl largo viaje de Rustico
orLos caminos de Aissa.
You
win and lose with those experiences … but honestly I think I’ve matured, I’ve
grown up working for my own company, imagining and jumping many obstacles in the
real world, and living-at the end, what I learned to do in Cuba.
How
do you remember your participation in the Workshop of Film Critics, in Camagüey
in this same year and which are your projects right now?
I
have very fond memories. I felt really good and well respected. I only
disagreed with the way the national press reported my presence at the event and
that was not the responsibility of the organizers. I was awarded the Critics
Prize and the National Television Newsreel and other media elaborated the news
so that it seemed I was still living in Cuba.
I
wrote an explanatory note that has not been disclosed by the official media. I
think it is a need to extend the debate on this and other issues vital to the
future of the nation. Juan Antonio García Borrero immediately published the
note in his recognized blog Cine Cubano: La pupila insomne which can be viewed at:
In
these moments I live in the Dominican
Republic. I did very well in the Canary
Islands; but life gave one of its unexpected twists and I landed in the Caribbean. Here I rearmed my life and I have two new
projects underway. I live surrounded by Cubans; they are inevitable for me,
although the issues of future projects, at least for now, do not involve them
directly.
I
will attend the Festival of Havana this year.Los
caminos de Aissawill be displayed there
and while I can, I will be present to talk with my natural spectators: Cubans.
Luckily I had an independent life outside Cuba, I don’t have to explain my
decisions to anyone, and that makes me happy, because hate does not encourage
me but proximity.
Taking from
ON CUBA
Article in Spanish: ROLANDO DÍAZ,
cineasta cubano: “En el siglo XXI es absurdo preguntar si un cubano es de
adentro de afuera de la Isla”
PERIODISTA / Premio Nacional de Periodismo Cultural /Miembro de la UNEAC y la UPEC/ Amo el verbo rápido y la mente abierta / E Mail: escribanode@gmail.com
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CEDEÑO
Propietario de la nada
artífice del idioma
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lirismo de la mirada.
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--------------------------
REINALDO CEDEÑO (Periodista y poeta)
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