Otherworldly tomb treasures—new Han Dynasty Discoveries from Ancient China at the Asian Art Museum
Gilded bronze lamp in the shape of a deer unearthed from Tomb 1, Dayun Mountain, Xuyi, Jiangsu, Western Han period, 2nd century, BCE. On loan from the Nanjing Museum and on display in “Tomb Treasures: New Discoveries from China’s Han Dynasty,” at the Asian Art Museum. The exhibition features over 160 rare selections from recent excavations in China’s Jiangsu province and runs through May 28, 2017.
Among the 160 Han artifacts on display at the Asian Art Museum’s dazzling new exhibit “Tomb Treasures: New Discoveries from China’s Han Dynasty,” many of objects in wood, bronze, and jade representing animals and mythical beings tap into powerful primal impulses and mythological associations we carry from many cultures, not just Chinese. In the Asian’s Osher Gallery, a bronze oil lamp in the naturalistic form of a crouching deer with its head raised to the heavens (2nd century BCE) seems deeply familiar. With its front mane extending almost all the way to ground and curved tail, this splendid creature evokes earlier heavily stylized Scythian deer except for the absence of looped antlers. We are left to ponder the influences of art created by early Eastern Eurasian nomadic tribes on Chinese art and what exactly is uniquely Chinese in this creature. The deer is an important motif for the Chinese, symbolizing longevity and wealth and this lamp is one of many examples of oil lamps with animal-like motifs from the Han era found in Han tombs. These exquisite lamps also played an important role in court life. Aside from their decorative allure, they provided illumination and, with better light in the evenings, people were able to extend their period of activity and entertainment began to thrive.
A Western Han period, 1st century BCE, carved wooden Cavalry figurine unearthed from Yandai Mountain (Yizheng, Jiangsu) represents the perfect marriage of material and subject. Both the form of horse and rider are carved exquisitely in an abstract manner allowing the natural grain of the wood to complete the idea. The end result is anything but simplified—highly stylized figuration. Many such figurines were finely carved and then painted to take on the attributes of their real-life counterparts; this one is more roughly carved. This work was excavated from a large tomb possibly belonging to a high ranking royal member of the Guangling kingdom. Among some 400 burial objects unearthed were 126 wooden figurines of warriors and attendants that formed a long procession. Just ten cavalry figurines were mounted on horses making this piece exceptionally rare. On loan from the Yizheng Museum.
China’s Han dynasty (206 BC–220 AD), like the Roman Empire, forged one of the most powerful, advanced civilizations of the ancient world. Ruled by 29 emperors for over 400 years, the Han dynasty represents the first “golden era” of development in Chinese history, a time when China’s diverse ethnic groups experienced relative stability, social development and harmony. Tomb excavations are ongoing in China and, every so often, they unearth a major find. In 2014, Chinese archaeologists in Jiangsu province, Eastern China (somewhat near Shanghai), unearthed more than 10,000 objects from a cluster of more than 100 Han tombs, untouched for some 2,000 years. Jiangsu was the birthplace of Liu Bang (Emperor Gaozu, reigned 202-195 BCE), the founding emperor of the Han dynasty and Jiangsu was a center of concentrated wealth and culture. There, Han royalty lived extravagantly. They perceived of the afterlife as a form of existence much like their earthly one, requiring that basic subsistence needs be fulfilled as well those for spiritual enlightenment and entertainment. Many of the most fascinating possessions from this rich find and earlier Han excavations are on display at the AAM.
Co-curated by Jay Xu, director and CEO of the AAM, and Fan Jeremy Zhang, the museum’s senior associate curator of Chinese art, the Asian has outdone itself again offering three galleries of tomb treasures, many of which have never traveled outside of China. The show’s opulent lay-out, though, has people buzzing about its sheer design beauty. Marco Centin, Director of Exhibition Design, has placed these many of these precious objects in cases which afford 360 degree viewing and against rich Chinese red backdrops, symbolizing prosperity and good fortune.
The exhibition is organized into three areas themed according to popular Han-era adages found on various artifacts:
- Everlasting happiness without end (長樂未央): Luxurious life and palatial entertainment. Daily life, banquets and pastimes of the Han elites are accompanied by the music and dance of the court.
- Eternal life without limit (長生無極): Worship of jade and search for immortality. A tomb-like atmosphere allows visitors to explore ancient ideas about the afterlife.
- Enduring remembrance without fail (長毋相忘): Private life and intimacy at the court. Affairs of the heart expose secrets from the innermost chambers of men and women fascinated by pleasure.
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Jade suit on view in the Asian Art Museum’s Hambrecht Gallery, unearthed from Tomb 2, Dayun Mountain, Xuyi, Jiangsu, Western Han period (206 BCE-9 CE), 2nd century BCE. Jade and gold. Nanjing Museum. Photo: courtesy AAM.
There seems no limit to the Chinese mastery of jade and Han royalty took ancient China’s fascination to extreme belief that jade, a kind of amour for the afterlife, could protect human flesh from decomposition. The Hambrecht Gallery has transformed into a tutorial on Chinese Han burial culture and front and center is an an extremely rare jade burial suit fashioned for a ruler from over 2,000 linked rectangular jade tiles joined together with gold thread and affixed to a silk backing, a project that would have taken the most skilled jade smith over a decade to create. The suits are so rare because tomb looters would burn the suits to retrieve the gold.
Also on display is a huge coffin, thought to be the largest jade coffin the world, that was excavated recently at Dayun Mountain and reconstructed. This coffin has a patterned jade lining on its inside to protect the deceased. This stands in contrast to a similar coffin that was discovered some 20 years ago in the Jiangsu region’s Chu mausoleums which had elaborate patterned jade on its exterior. An “inside or outside” debate has raged among scholars as to whether the use of jade was consistent or different due to regional variations in coffin construction. In the same gallery, there are also evocative smaller jade dragon pendants which would have adorned the coffins of elite rulers.
In the Lee Gallery, the exhibit explores the interior spaces of the Han court and its plush amenities for personal hygiene including a toilet found in the Tuolan Mountain mausoleum and intriguing strap on bronze phalluses.
Free Performances: Music for the Afterlife
In celebration of Tomb Treasures, local instrument inventor group Pet the Tiger will team up with Gamelan Encinal, a musical ensemble, for a presentation featuring three centuries of instrument building. Custom-built instruments by musician Bart Hopkin, designed with the same tuning as the Han dynasty Bianzhong bronze bells, create a contemporary “orchestra” (or “gamelan”).
Each performance features percussion and wind instruments in rearrangements of traditional gamelan melodies, the graphic score of “Yantra Meditation” by local composer David Samas, and new compositions for special guest artists.
On March 19, at 12 noon and 2 PM, in the North Court, local instrument inventor Peter Whitehead performs haunting melodies for voice and overtone flute.
On April 16, Pet the Tiger and Gamelan Encinal perform new works for pipa (Chinese flute) and the Han bronze bells by Sophia Shen and Stephen Parris, with Ms. Shen as pipa soloist.
On May 7, the two ensembles will join forces with the Cornelius Cardew Choir to perform composer Brenda Hutchinson’s work “Last Words,” an inquiry and meditation that asks what we want to take with us to the afterlife — and what we want to leave behind. Guests of all ages are invited come early to so that they can join the orchestra by building their own instruments from everyday objects in the Education Studios: You can construct a soda straw oboe or boba straw pan pipes that can be tuned to the ancient scales of the bronze bells.
Bell set, unearthed from Tomb 1, Dayun Mountain, Xuyi, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Bells: bronze; stands: lacquer and silver. On loan from Nanjing Museum. Photo: Nanjing Museum.
Details: Tomb Treasures: New Discoveries from China’s Han Dynasty closes May 28, 2017. The AAM is located at 200 Larkin Street near Civic Center. Parking is easy at Civic Center Plaza garage which offers a discount with your validated AAM ticket. (Get it stamped upon entry to the museum.) Hours: Tues-Sun: 10-5; Thursdays until 9 (end Oct 8); closed Mondays. Admission: General admission $20 weekday, $25weekend; Seniors, students, youth (13-17) $15 weekday, $20 weekend; 12 & under are free. 1st Sundays are free thanks to Target. You can pre-purchase your tickets, with no processing fee, online here.
Havana’s 38th International Festival of New Latin American Cinema, so much to see!
Argentinean directing partners Gastón Duprat and Mariano Cohn’s comedy, “El ciudadano ilustre” (The Distinguished Citizen), opened the 38th International Festival of New Latin American Cinema at Havana’s Karl Marx Cinema on December 8, 2016. The film stars Oscar Martinez as Daniel Mantovani, a cosmopolitan Noble Prize-winning Argentinean author who returns to the village of his birth for the first time in 40 years. The film picked up a Coral award for best screenplay at the close of the ten day festival and was Argentina’s entry for the Best Foreign Language Film.
Havana’s renowned International Festival of New Latin American Cinema—December 8-18, 2016—is a ten day extravaganza that gives attendees a chance to roam widely through an immense selection of cinema and spend time in fascinating Havana. My second experience of this wonderful festival, the 38th edition, was even more rewarding than the first, which was in 2015. The festival is one of the Havana’s and Latin America’s most anticipated annual events, offering the best and latest in Cuban, Latin American and world film—roughly 440 features, documentaries, fiction, animation, and archival gems from roughly 50 countries.
Due to bad weather in Miami and delayed flights stateside, I arrived two days late and missed opening night, which drew hundreds to Teatro Karl Marx in Havana’s Miramar district. Festival director Iván Giroud dedicated the evening to Fidel Castro and to Julio García Espinoza, whose his acclaimed film school, EICTV, was celebrating its 30th anniversary. The Argentinean drama, The illustrious citizen, directed by Gastón Duprat and Mariano Cohn, was the opening night film.
Last December, the 30 minute (9 mile) cab ride from the José Marti International Airport in Boyeros to downtown Havana was marked by banners and billboards commemorating Fidel Castro’s life and influence, some had been there for years and others put up in response to his recent death. Photo: Geneva Anderson
Overshadowing the 38th festival was Fidel Castro’s recent death, of natural causes, on the evening of November 25, 2016. Castro, whose health had been failing for years, had held onto power from 1959-2008. Gradually, he had turned things over to his brother, Raúl Castro, who is now nearing the end of his second five-year term and will step down from the presidency in 2018 when a new ruler will elected by the National Assembly. A large part of Cuba’s attraction, festival aside, is exploring Castro’s complex legacy. His death took place amidst an undeniably cinematic moment—Cuba’s rebirth. Everywhere you go in Havana these days, architecture and attitudes are in flux and Capitalist consumption is perched to spread like wildfire. In a society that has long touted the ideals of social equality, there’s a feeling both of hopefulness and of anxiety over being left behind. Not surprisingly, the motif of nostalgia and change permeated the Cuban films I saw as well.
My goal for my 8 day stay was to see as many films as I could and to hit Havana’s rustic streets and start exploring the changes firsthand. Using my hotel, the Hotel Nacional, as a base, I walked to as many of the 14 screening venues as possible and to tried to take different routes each time. In all, I saw 48 films during my 8 day stay, usually 5 to six films daily, from 10 AM to midnight, and I covered a lot of downtown Havana.
The Hotel Nacional de Cuba is the festival’s hub and main host hotel. Built in 1930, the beloved five-star hotel is situated on a hill in Vedado just a few meters from the sea; it has a fabulous outdoor bar facing the water that is the perfect spot for an interview and a cocktail. Guests have included Winston Churchill, Frank Sinatra, Ava Gardner. Photo: Geneva Anderson
A ride in a taxi colectivo (shared taxi) is a cliche waiting to to be exploited: it’s cheap, about 30 cents in Cuban “CUP” (the national coin used by Cubans), and fun. Most tourists use Convertible pesos or “CUC” and pay the equivalent of US $5 to $10 dollars to go from venue to venue in some form of private taxi. The locals all use buses or taxi colectivos—big classic cars from the 1950’s—which serve as shared taxi’s and go just one way, up or down Havana’s long boulevards. People cram in like sardines and hop in and out. Photo: Geneva Anderson
The festival catalogue, mi rollo, my película (mi role my film) offered 231 pages of films, with all program information in Spanish. About a third of the films were subtitled, mainly in English, but also in German or French. Immediately evident is the depth of the programming, a challenge that Programming Director, Zita Morriña and her small staff revel in. (Read my 2015 interview with her here.) The festival receives well over a 1,000 film submissions directly and seeks out prizewinners from Cannes, Venice, Berlin and Toronto. It acknowledges talent across the board, offering juried competitions in eight areas and numerous awards, including best unrealized screenplay and even one for the best artistic design of the festival’s poster.
Every morning at 9 a.m., the 8-page daily festival newspaper, Diario del Festival, arrived hot off the press, listing screening times and venues for the current day and the next day, and whether a film was subtitled. The Nacional’s lobby and breakfast room came alive with discussions of what to see, how to get there.
The “Diario del Festival,” the festival’s daily newspaper (entirely in Spanish), is indispensable for scheduling and the latest festival news. Photo: Geneva Anderson
One can’t help but be swept up in the moment—the excitement of the crowd, the lines, the impassioned conversations, the glory of stepping into these historic cinema houses— Infanta, La Rampa, America, Yara, Charles Chaplin and 23Y12. Most Cubans have not traveled or been able to surf the web much but they are voracious cinephiles and will wait in lines that stretch on for blocks to see a film that generated a buzz abroad. Seeing Latin American and Cuban films on native soil with such an energetic audience added tremendously to my experience.
This year, the festival flew in Sonia Braga, Oliver Stone and Brian De Palma. Over the years, a good number of Hollywood stars have attended—Jack Lemmon, Gregory Peck, Robert DeNiro, Chris Walken, Annette Bening, Spike Lee, and others. I was equally delighted to see the many Cuban and Latin American directors and actors and full productions team that participate, taking the stage for brief conversations and rounds of applause.
Cine Yara, on Calle 23 in Havana’s Vedado district, is one of the main venues for Havana’s International Festival of New Latin American Cinema. A key example of Cuba’s “Modern Movement” in architecture, it opened in 1947 as “Teatro Warner Radiocentro” with 1,650 seats, and was operated by Warner Bros. In 2015, it became one of Havana’s first cinemas to embrace digital projection but retained a 35 mm projector to allow screening of classic films. Photo: Geneva Anderson
Cine Yara is huge inside but its narrow spacing of rows makes for slow entry and exit. Photo: Geneva Anderson
Cine Riviera in Havana’s Vedado district is immediately recognizable by its blue and white motif. Built in the early ’50s on the site of the previous 1927 Rivieria Theatre, it became the first “atmospheric” cinema in Cuba—its walls were once painted with imitation Spanish facades creating the illusion of being outdoors. Currently, it seats 1,200 and also functions as venue for contemporary music. Photo: Geneva Anderson
Contemporary Cuban movie posters, with their bold and saturated colors, are masterpieces of graphic design which tend to focus on concepts in the film, not on the actors. They are sold at the Hotel Nacional de Cuba, and displayed and sold at most of the festival’s screening venues.
If you’re looking for perfect screening conditions, creature comforts, or envision sipping a mojito during a screening, Havana is not for you, at least not yet. There were some technical issues, primarily with sound or films that would not play, and, a few times, there were no subtitles. Substitutions were made on the spot. As for fuel, there is no “to-go” coffee but basic inexpensive snacks—chips, cups of popcorn, nuts, candies and fruits—are sold outside the theaters in huge shopping carts. One mitigating delight is that each theater displays and sells wonderful movie posters, very artfully designed, and t-shirts for a song and you’ll be tempted to stock up.
38th edition highlights:
exploring depths of the Latin American psyche:
Mexican actor Gael García Bernal appeared in two big films in Havana, Pablo Larraín’s “Neruda” and Jonas Cuarón’s border drama, “Desierto.”
For those intrigued by the lyrical, the sinister and the outrageous factors that have come to shape Latin American identity, they need look no further than Chilean director Pablo Larraín, whose work is deeply appreciated in Cuba. In 2012, his No won the top award for fiction film. In 2015, his The Club won the Coral Prize, the festival’s top prize. For the 38th festival, Larraín screened his new films Jackie, starring Natalie Portman as Jackie Kennedy in aftermath of her husband’s assassination, and his semi-fictional Neruda, starring Mexican actor Gael García Bernal and Chilean actor, Luis Gnecco, who first appeared together in Larrain’s No.
Neruda lays out the struggle between political authority and the creative impulse in a detective story about the 1948 political exile of the Nobel-Prize winning poet and Chilean Communist Party Senator, Pablo Neruda (Luis Gnecco), who lived in hiding in Chile before fleeing to Argentina and then on to France. Bernal plays the obsessive detective, Peluchonneau, who is hot on Neruda’s trail but instead is undone by the chase. Neruda, embodied brilliantly by Gnecco, is a complex, hedonistic larger-than-life figure whose identity is fueled by his own mythology. Everything about this philosophical drama played well in Havana. The audience was familiar with both Neruda’s poetry and his January 6, 1948 denouncement of Chilean President Gabriel González Videla which made Neruda a target of the same anti-repressive policies he was fighting as a senator.
A scene from Colombian director Víctor Gaviria’s “La Mujer de Animal” which uses graphic violence to denounce violence.
Looking beyond those films that had big splashes at European festivals was eye-opening. The violence in several films that came highly recommended was hard to stomach. Columbian director Víctor Gaviria’s La Mujer de Animal (The Animal’s Wife, 2016) was most extreme in depicting the utter terror of living with unrelenting domestic violence. The abuser is Animal (Tito Alexander Gómez), a revolting, rage-filled criminal who dominates the shantytown he lives in and abuses everyone he comes in contact with. When he becomes obsessed with innocent 18 year-old Amparo (Natalia Polo), he kidnaps her, rapes her, forces her to marry him, and soon impregnates her. Powerless, she becomes his whipping post and the entire community, out of fear, turns a blind eye to his horrific abuse which escalates after their daughter is born. Had I seen this in the States, I would have had my fill and walked out. In Havana, despite being numbed out, I opted to stayed for some insight into the context—the dire and marginalizing poverty—that had bred such evil and complicity. Cringing in my seat, I waited to see if she would muster the strength to retaliate and kill this monster. To my surprise, Gaviria walked away with the festival’s award for best director. After a chat with a Colombian sociology student about the aesthetics and complex role of violence in Latin American cinema, I saw the film differently but would hesitate to recommend it.
Another soul-crushing domestic violence drama was Brazilian director Marco Dutra’s Era El Cielo (The Silence of the Sky, 2016). The violence in this one was easier to stomach but its psychological chill lasted for days. Set in an entirely different economic strata—a gorgeous middle class home in Montevideo, Uruguay—the story presents a husband’s unexpected response to his wife’s brutal rape. The film takes a captivating twist into his obsession and the rape becomes more about him than her.
Jeffrey Dean Morgan (L) and Gael García Bernal (R) in a scene from Mexican director Jonas Cuarón’s border drama “Desierto” (2016), awarded the festival’s top prize.
The premiere of Mexican director Jonas Cuarón’s border thriller, Desierto, earlier in the year had coincided with Donald Trump’s anti-immigration campaign rhetoric and it became a film of note at several festivals. The plot is conventional and straightforward: it takes a truck full of Mexican migrants attempting to cross the US border illegally and introduces a crazed racist vigilante sniper, Sam (Jeffrey Dean Morgan), who along with his vicious dog, is ready for a slaughter. Most of the people are killed off early in the film but Moises (Gael García Bernal) becomes Sam’s primary target and a chilling game of cat and mouse ensues in the desert. This was Mexico’s Foreign Language submission to the 89th Academy Awards and it won the festival’s top prize, the Coral for best film. Seeing it in Cuba with a very sympathetic audience still didn’t convince me that it was anything more than an excuse to make a chase film with excessive gore.
Docs from far-flung corners:
A scene from Czech director Helena Třeštíková’s documentary “Marcella” (2007), a quiet masterpiece that feels like stepping into a memory of a family and a specific culture.
Exploring this festival’s broad selection of documentaries is always a pleasure. I had never heard of Czech director, Helena Třeštíková, who was a special honoree this year. She is legendary for Marriage Stories, her series of documentary films which explored 25 years of Czech society through the lives of six married Czech couples. The series screened on Czech television and elicited rave reviews. How wonderful to meet her in person in Havana and watch two of her insightful films.
Marcella (2007) begins with commonplace Marcella marrying Juri and it follows her for the next 26 years as she navigates her crumbling marriage and the agony and joy of raising a daughter who is developmentally challenged in a society that is churning in all directions as it emerges from an era of communist rule. Shot incrementally, Třeštíková gives us everyday occurrences as well as milestones (the birth and then tragic death of Ivanka, Marcella’s daughter, moving to another apartment) and weaves it all together with an incredible fluidity and empathy. By the end of the film, we see Marcella as anything but commonplace, because we have witnessed the molding and emergence of her true self. As for marriage, we witness that in the Czech Republic, in those pre-Velvet Revolution days, it required a team to function and going it alone was next to impossible. The decision to choose a mate was also pragmatic. When you consider that Třeštíková was creating six of these marriage portraits simultaneously, you get a real sense of her artistry as well as her powers of organization, collaboration and patience.
The processing of historical memory and documentation of atrocities is an essential role of Latin American film and the festival always honors this with outstanding examples. El Salvadorian journalist and director Marcela Zamora Chamorro’s sensitive documentary, The Offended (Los Offendios, 2016), offers poignant insight on the 12 year-long Salvadorian civil war in which 75,000 civilians died at the hands of government forces. Through interviews with several victims of torture and imprisonment who tell their stories in their own words, some for the first time, a pressing narrative of El Salvador’s ongoing struggle for truth and justice emerges. Chamorro’s father, Rubén Zamora, led the Revolutionary Democratic Front during the war, went into exile, and was tortured by the Salvadorian National Police and his articulate and detailed re-telling of these events is the focal point of the film.
Andreia Horta is Brazilian legend Elis Regina in Hugo Parto’s bio-pic “Elis” (2106).
It’s not all heavy. The festival introduces talented Latin celebrities who are not well known in the States, both as subjects of films and as actors. Brazilian director Hugo Prata’s musical bio-pic, Elis (2016), introduced me to Elis Regina (1945-82) one of the biggest Brazilian singers of all times. The film balances her singing career with her tumultuous personal life. Brazilian actress Andreia Horta’s dynamic performance as this velvet voiced bossa nova and suadade powerhouse could not have been more captivating.
Special Guests
Brazilian actress Sônia Braga at a press conference for “Aquarius” at the Hotel Nacional de Cuba. In “Aquarius,” Braga plays Clara, a retired music critic, and widow, who is striving to hold on to her beachside apartment in upscale Recife, Brazil. When developers buy up all the apartments in the 1940’s-built complex with the intent of bashing it down, Clara holds her ground. A stand-off ensues with the developers and her children both pressuring her to sell. The film is a metaphor for present day Brazil with Braga as its inspirational and unshakable heroine. Photo: Geneva Anderson
Afternoon press conferences with Oliver Stone and Sônia Braga at the Hotel Nacional were packed and included lengthy and enjoyable Q & A’s with the celebrities. Oliver Stone spoke passionately about his bio-pic, Snowden (2016), pointing to the villainy of the US intelligence community and Snowden’s heroic outing of our appalling post-9/11 lack of privacy. Experiencing Stone slickly field questions from the impassioned journalists in attendance, many from countries who had been the puppets of US policy, was an unforgettable experience.
Snowden’s gala screening at Cine Yara was packed with an audience eager for a hefty exposé. Sorely missing in the evening was an in-depth on-stage conversation with the multi Oscar-winning Stone, who had also had extensive interaction with Fidel Castro, the subject of two of his films.
Brazilian actress Sônia Braga captivated journalists at her press conference for Aquarius, Kleber Mendonça Filho’s new film that has garnered numerous festival awards the world over. She told journalists that she identified deeply with her character, Clara, because “she expresses much of what I need to say as a citizen” and the film “is a metaphor for both Brazilian and international resistance against global dynamics which bolster the wealthy.” At the festival awards ceremony, Braga was honored with the Award for Best Female Performance and Aquarius went on to receive the Signis Award, granted by the World Catholic Association for Communication, and the Fripresci Award, of the International Federation of Movie Critics.
Cuban Film
The festival’s vast selection of Cuban cinema was enticing—85 films! I got my list of must-sees from Cuban editor Nelson Rodríguez who, since the 1960’s, had worked with all the leading Cuban directors and several prominent Latin American directors. He steered me first towards the four classics in the festival’s new “Restored Classics” programming. Three of these were directed by Tomás Gutierrez Alea (1928-1996), Cuba’s most influential director who was largely responsible for catapulting Cuban cinema into the international limelight. Rodríguez explained that, even 20 years after his death, Alea still permeates Cuban film culture. He walked the line with his witty, allegorical portraits of Cuba and his gaze reflected both a dedication to the revolution and a critique of how contemporary society measured up. I attended all the screenings in this category. The theaters were packed and the audience enthusiastically cheered the cast and creative teams who came on stage and spoke about their experiences.
Memories of Underdevelopment (Memorias del Subdesarrollo, Tomás Gutierrez Alea, 1968)
Sergio Corrieri as Sergio in a scene from Cuban director Tomas Gutierrez Alea’s fifth film ” “Memories of Underdevelopment” (1968), one of Cuba’s most important and beloved films. Recently restored via the collaboration of several global film foundations. Sergio’s family flees to Miami shortly after the 1961 Bay of Pigs invasion but he chooses to stay in Havana. The plot follows Sergio’s thoughts and experiences as he is confronted by the new reality. He lives as an alienated outsider, disdainful of his bourgeois family and friends and highly skeptical of those who believe naively that everything in Cuba can be transformed suddenly. He sustains himself as a rent-collecting property owner and chases women until he is accused of rape.
The Survivors (Los Sobrevivientes, Tomás Gutierrez Alea, 1979)
A scene from Cuban director Tomas Gutierrez Alea’s “The Survivors” (1979), a biting portrait of a clan of Cuba’s pampered and childish aristocrats, set in post-revolutionary 1960’s Cuba. In order to evade the contamination that has befallen society, an extended family decides to hole up from the outside world (with their servants) in total isolation in their large villa and live the good life. Over time, the family experiences a total reversal of fortune corresponding to the phases of capitalism. They begin their exile in capitalism which degenerates to feudalism, then to slavery, and in the end, all out barbarism.
The Cuban classic films were restored in collaboration with Cinema House of Cuba and the Cuban Institute of Cinematographic Art and Industry (ICAIC) and with the financial and technical assistance of several international film foundations and dedicated individuals. Representatives from these organizations participated in the festival’s well-attended informative public symposium on restoration, an issue of importance throughout Latin America. Cuba’s problem: the island’s humidity is hell on celluloid and many important Cuban films have deteriorated entirely and many more are in jeopardy, each a vital chunk of Cuba’s cultural heritage. Cuba needs both money and technical experience to preserve these films. Using Memories of Underdevelopment as the main example, but drawing on other films too, panel members spoke of their painstaking involvement with the film’s restoration and issues associated with digitization and audiovisual patrimony.
contemporary Cuban film: It’s Not Like Before (Ya no es antes, Lester Hamlet, 2016)
In Lester Hamlet’s “Ya no es antes,” seasoned Cuban actors Isabel Santos and Luis Alberto García play former lovers Mayra and Esteban who are in the second halves of their lives and are grappling, very awkwardly, with how to let down their guards and explore their feelings for each other. Separated since their teen-age years by immigration, they meet again in Cuba four decades later when Mayra comes back from the States and meets Esteban, who remained in Cuba. The tender drama is an adaptation of Cuban writer Alberto Pedro Torriente’s’ beloved play from the 1980’s, “Weekend in Bahia.” It explores a question very relevant in today’s Cuba—is it possible for people with different world views and life experiences to put all that aside and take a chance on love? The wonderful chemistry of this Cuban duo, especially in their neurotic freak-outs, evoked belly laughs and tears. The film won the festival’s Popularity (People’s Choice) Prize and Luis Alberto García was awarded festival’s Best Actor prize.
For the past ten years, the festival’s experimental film section, “Cine Experimental” has been in the hands of San Francisco experimental filmmaker, Dominic Angerame, who has rigorously taken his enthusiastic audiences through the history of experimental cinema, showing them important gems they would have never encountered in Cuba were it not for his dedication. This year, celebrating his decade of Havana programming, he outdid himself with eight separate programs featuring dozens of important experimental and avant-garde films. I spent an afternoon catching the lyrical “Programa No.5” that featured 15 films, six of which were by Guggenheim Film Fellowship winner Lynne Sachs, working solo or in collaboration with Mark Street, or Noa Street. The high-point of the afternoon was seeing one of Angerame’s vintage experimental films shot in Havana some 20 years ago.
Details: The 39th Festival of New Latin American Cinema is December 8-17, 2017 in Havana. Click here for information. Plan on securing plane and hotel reservations well in advance of the festival. Once in Havana, festival passes can be purchased at the Hotel Nacional de Cuba, where the festival is headquartered, or, individual tickets can be purchased at various screening venues. Due to the immense popularity of the festival, and to avoid long lines, purchasing a festival pass is advised.
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