Raúl Valdés González (Raupa), one of those in charge of the event’s audiovisual campaign together with Nelson Ponce Sánchez, commented that both the Festival’s poster and advertisement allude to the chain of events that take place in a movie theater, such as a kind of ritual for those who prefer to enjoy a good movie on the big screen.

“They refer to the great party that represents the arrival of this cultural event for lovers of the seventh art,” said Raupa.

In the House of the Festival, Nelson Ponce stressed that with his posters for the event he always tries to generate controversy on debatable topics and the image for the 43rd edition was no exception, because he insists on how the existence of new multimedia platforms, especially after The covid-19 pandemic affects the consumption of cinema in traditional spaces.

Yumey Besú Payo, director of the International Festival of New Latin American Cinema, stated that at the end of the call, on August 30, more than 2,200 films had been registered, a high number in terms of film production in the region, which will force specialists and organizers to an arduous selection process.

200 posters and around 220 unpublished scripts have been submitted to the contest, which, after going through the official selection, will opt for the prize in both categories.

As a novelty, by decision of the organizing committee, the delivery of the Arrecife Award is included, a new award that will recognize the Latin American work that best reflects the queer theme or another linked to the Lesbian, Gay, Bisexual, Transsexual and Intersex community (LGBTIQ +) .

Not only the films in competition will be eligible for this diversity award, Besú Payo clarified.

He pointed out that the passport will be resumed as a usual way of accessing the capital’s cinemas during the film event.

The 43rd International Festival of New Latin American Cinema will take place in Havana from December 1 to 11, 2022 and its main purpose will be to recognize and disseminate cinematographic works that contribute, based on their significance and artistic values, to the enrichment and reaffirmation of the Latin American and Caribbean cultural identity.

Pauls began his relationship with the International Festival of New Latin American Cinema with the film Nueces para el amor, which on that occasion won the Grand Coral for the best film of the event.

He remembers how surprised he was, on that trip, “to see how Cubans lived and watched a movie. There is no place in the world that has that level of passion, knowledge and love for Latin American cinema, and I couldn’t believe it.”

In 2019, he arrives with El Príncipe, which is competing in the debut section, and La espuma de los días, as part of the exhibition América en perspectiva. Referring to the latter, directed by Fernando Timossi, he confesses that his greatest satisfaction was playing a Cuban character and collaborating with “first-rate” actors such as Corina Mestre, Liéter Ledesma, Alicia and Fernando Hechavarría. “I am very proud and happy because Latin American cinema always costs a great deal, and every film that is released is a victory.”

El Príncipe is a co-production by Chile, Argentina and Belgium, “a film that takes place in a prison, and where paradoxically many men can be free.” It is a reflection on a society where prejudice and homophobic postures still persist, which Pauls proudly presents in this festival, for him, “a beacon since its creation, because when there were many military dictatorships across Latin America, this was the place where the darkness could be stated, denounced, and brought to light. Today, when the right wing wants to ride hard and in many places the media is carrying out coups, the festival has more power than it did 40 years ago.”

Pauls has always valued Latin American cinema. “For me it is cinema about the world, made by Latin Americans, it is how we see and how we see ourselves. The maxim this year rightly states that in several Latin American countries people are being blinded, so our cinema has the duty to continue observing and telling what it sees.”
he duty to continue observing and telling what it sees.”

(Granma)

Reviewing the films in competition, the international exhibitions, theoretical meetings, tributes to filmmakers and a long list of collateral events, film-lovers realize, once again, that the fight against time will be a constant in these ten days – from the 5th to the 15th – when avid fans become selective hunters of what should not slip through their hands.

Spectators do not disdain the opinions of critics and specialists, but are implacable when it comes to issuing their own, hence it is not uncommon to see them exchanging verdicts and sentences, minutes before the start of the show, or as they leave the theater.

This 41st Festival is dedicated to the centenary of Santiago Álvarez, the Argentine film La odisea de los giles, by Sebastián Borensztein, was presented at the inaugural gala, at the Karl Marx theatre on the 5th, with the participation of the Cuban National Ballet, in a tribute to Alicia Alonso. Borensztein’s film, set in Argentina in 2001, is a tragicomedy of strong social content, applauded internationally and a great success with audiences in his country.

In all, 167 works are participating in the competition’s different special categories, the product of a long selection process, since organizers of the 41st Festival wanted to offer the best of our continent and the international arena.

Among the feature films in competition (one of the most followed) there are 21 films, with Argentina again at the head, presenting five titles, if co-productions are counted. Our country will participate with Buscando a Casal, by Jorge Luis Sánchez, a historical drama focused on the figure of the poet Julián del Casal. There are many high-quality titles in the contest, but there is one that should not be missed, Araña, by Chilean Andrés Wood.

And if you’re looking for recommendations, look, no matter what, among international screenings for Parásito, by Korean director Boon Joon-ho, winner at the last Cannes Film Festival, and also Marighella, by Brazilian director Wagner Moura, and Mientras dure la guerra (Spain), by Alejandro Amenábar. And don’t forget one that concerns us and will allow us to form our own opinions, after so much has already been said: Red Wasp, by French director Olivier Assayas.

There are many more, but we will have to see them, amidst of the usual analyses and polemics, since the Festival itself is an embrace of art, enjoyment and intelligence for those who let themselves be carried away.

IN COMPETITION

- 21 feature-length fiction films

- 19 short and medium-length films

- 18 debuts

- 21 documentaries (feature length)

- 10 documentaries (short and medium-length)

- 23 animated films

- 25 unpublished scripts

- 30 posters

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Stone, who presented his most recent film, Snowden, based on the analyst who denounced the U.S. mass global surveillance system, during the 38th Havana International Festival of New Latin American Cinema, said that Fidel “had the ability to see everything very clearly,” and noted that “all those of us who knew him will miss him.”

The filmmaker, winner of three Oscars, traveled to Cuba several times to meet with Fidel for the documentaries Comandante (2003), Looking for Fidel (2005) and Castro in Winter (2012).

“I made the film Comandante with the idea that it would be a historical profile of the man. The film can be seen on YouTube, but it could never be screened in theaters in the United States because they censored it and removed it a week before it was due for release,” Stone told Granma.

The director of The Doors explained that he later returned to Havana to film Looking for Fidel for HBO.

“Then we made Looking for Fidel, which was possibly the most aggressive interview with Fidel. I asked him very difficult questions and that movie was screened on HBO. However, given the good job that Fidel did answering the questions they do not put it on enough on U.S. television. HBO instructed me to ask Fidel hard, tough questions, to put him on the spot. As you all know, that was not easily done and he was brilliant in his answers to all my questions. I think that’s why HBO has not shown the movie again,” he explained.

The filmmaker offered a press conference on Sunday, December 11, at Havana’s Hotel Nacional alongside Cuban intellectual Ricardo Alarcón, who noted that “The Cuba of Fidel Castro will continue for a long time and Fidel’s death poses a very big challenge for Cuban men and women and the Fidelistas who are outside Cuba.”

“Fidel Castro will continue to live to the extent that we Cubans want him to, as long as we are able not to simply repeat slogans and phrases, but to try to maintain him as the tremendous example of dedication to everything he did. Fidel was committed to all his work and took care of even the smallest detail. Being able to be like this is the means by which he will survive in each of us and in our society,” Alarcón added.

Oliver Stone’s new film is the story of former CIA consultant Edward Snowden, who denounced the agency’s massive espionage system, which included access to U.S. citizens’ private data and that of people across the world, under the auspices of the fight against terrorism.

The film follows the strong political content of Stone’s work, who indicated that he tried to be as faithful as possible to reality with this film.

“Edward Snowden was always attentive to the filming. He made changes, fixes and technical clarifications and when the film was finished he saw it because he was fully aware of the process,” the filmmaker explained.

Joseph Gordon-Levitt plays the starring role in the film, alongside award-winners Nicolas Cage and Melissa Leo, and Shailene Woodley, among others.

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“The Festival has among its challenges that of capturing new audiences and helping to train new creators. Thus the Industry Sector will once again present an ambitious program of workshops, lectures, panel discussions, and master classes, with a team of professors and lecturers of the highest rank,” Giroud said.

The inauguration included a short concert by the Advanced Institute of Art youth orchestra, and the Argentine film El clan was presented by its director Pablo Trapero.

Another high point was the presentation of a Coral Prize for a Female Performance – awarded last year – to British actress Geraldine Chaplin, for her role in Dólares de arena, which she accepted from Cuban actress Daisy Granados.

Some 450 films will be shown during the Festival’s ten days, including retrospectives of Italian filmmaker Marco Bellocchio, and Brazilian Ruy Guerra, Coral honoree this year; poster expositions; and special presentations to delight all movie lovers.

(Granma)