Fiction full-length film Lejos de la Habana (Away from Havana), by Maikel G. Ortiz, on the conflict of immigration and the life of Cubans in Spain, will be screened at the Tower Theater of the Miami Dade College (MDC) next May 24, and the screening will include a debate with its main character and producer Ricardo Becerra.
The 96 minutes long film was already premiered in Havana and Galicia, where the shooting took place for three years. It will be presented in Miami with the previous experience of ICAIC’s 13 Young Sample, which granted it an award in the category of Best Production.
“Most Cubans have dreamed about living abroad, even temporarily, but none of them can really picture that life. Our film has to do with that; it is about three Cubans living in Spain, who at some point have thought about returning to their homeland. Whether returning or not depends on each of them, but being away from Havana is really hardfor the three of them”, noted Ortiz in an exclusive interview for OnCuba, during the exhibition of the film in that city that shelters many Cubans who are facing similar conflicts.
How did the idea for the film emerge?
It emerged from two main reasons. We were trying to produce a short film to continue our work with La Cocina Films productions and we had to hand in our thesis to graduate from the Cuban Higher Institute of the Arts (ISA by its acronym in Spanish). I prepared an outline for the script for a short film for three characters to be interpreted by Yansamill Núñez, Ricardo Becerra and me. At first, the plot was to be developed in Dado Dada Night Club but every time we met we came up with lots of ideas so at some point I said: “This is nuts but this demands a full-length film…” so I divided the script and we set it in motion.
As soon as we had shot a few scenes we came to Cuba to show the final work and we graduated. At that moment, a member of the jury told us that our vision of the Cuban immigration issue from the perspective of a Spanish production was very interesting; I explained it was a Cuban production carried out by ourselves and then, I realized we were on the right track.
A couple years later, we had finished editing it, but it still lacked sound postproduction. I prepared my final paper for a Master’s Degree on Audiovisual Communication and Creative Industries at the University of Santiago de Compostela (USC by its acronym in Spanish) and finally we are able to start moving the film, independently. As we Cubans say: “I killed three birds from a shot”.
How much of the film would you say is autobiographical?
In the psychological front, I would say everything, and not just for me but for the three leading actors that take part in the film.
In fact, we have a close relationship. I have a strong friendship with Ricardo and I Yansamill is my life partner. The script was inspired in real events that have occurred in the lives of many Cubans we know, let’s say it is some sort of collage. I personally suffered the sudden death of my father, not for the reasons portrayed in the film, but it was just as painful.
Immigration is a frequent topic in the Cuban contemporary art. What are the new elements you propose in the film for avoiding the usual courses?
I believe the authenticity of a work lays in the small details.
Cuban art, as well as Cubans, is rather extrovert, but living in Cuba we cannot realize about that. It isn’t right or wrong, that’s who we are, but when you live abroad, in my case in Spain, the folklore gradually decreases and so our creative processes also change. The issue dealt with in Lejos de la Habana is not new, it is an authentic Cuban film but it is more about what the characters don’t say, their silence is like shouting in Off, and eventually in On.
You claim this is a collective film about solitude, why?
It is a collective film because the leading roles are evenly divided between three characters, though Yolanda, the character interpreted by Yansamill Nuñez, is the central axis. Solitude is a mood; we can be in the company of one or several people and still feel lonely. I always say it is not the same living abroad in Miami than in Europe. Just to mention a concrete example, adjustment processes are very different and the social impact experienced by each person is also different. In Florida there are thousands of Cubans and somehow you always have some close friend around; however in Spain it is not so. Wherever you look it is full of strangers to you and that makes you feel even lonelier.
How would you describe the work with actors, friends and maestro Raul Pomares?
As it was a Freelance andLow-costfilm, it was impossible to make a casting and taking into account that we would play the leading roles we presented the proposals to some actors and fortunately they didn’t say no. I’m eternally grateful to all of them for joining the project knowing there would be no economic benefits.
Not all of the actors are professionals, academically speaking, but their workdefinitely is.
I have to confess the direction of the actors was not thorough, mainly because that would take at least 20 people, and it was developed only by Ricardo and me. I always gave them creative freedom, and also explained them the essence of every sequence.
They never had the script on their hands, only the sequence to be shot that day, which helped them to focus on their daily work and I believe it worked. I would like to highlight Raul Pomares participation in the film, which was totally by chance. That day we went looking for another actor and we ran into him so we made the most of the situation and we sat in a park on Linea Street and we shot the scene. He is undoubtedly the best Cuban actor today so he made a wonderful work without knowing what the film was about and I’m thrilled with his presence in the movie. We had worked together previously in theater and I had been able to enjoy his work for some time. I owe him a lot personally and professionally.
How would you assess the Cuban Young cinema?
As I have been in Spain for a while, I haven’t been able to see the work by producers in Cuba, but I have been able to see the work made by those abroad (Tané, Patricia, Heidy). Their work has high quality and their documentaries have an incredible potential. In Cuba, producers are mostly working on short films because it is difficult to produce a full length film, as it is abroad, but the important thing is to do something. I think it is necessary to make the most of the singular characteristics of the distribution through DVD banks; this alternative can be really interesting.
How did you feel for receiving a Production award at ICAIC’S Young Sample?
Awards are always welcomed and encouraging. I always say I didn’t deserve this award and vice versa, because we are the worst producers ever, we haven’t got a penny from the movie, but we are also the best because we produced the film without a single penny. There are many kinds of awards, but one of the awards that have left a mark on us was during the premiere of the film in Cuba, a few months prior to the Young Sample. When the screening was over, we came close to Enrique Pineda Barnet and he told us: “Forgive me for not standing up, but the film moved me”.
Are you one of those people who think that there is need for a new Cuban cinema?
No, I’m not. Films such as Los Sobrevivientes, by Titón, will last forever. It is important to create pieces committed with the current reality, which can be properly valued tomorrow. Cuba needs to open to the new technologies that allow producers to have access to the necessary production means. Internet is essential for independent producers in order to get in touch with others, to improve its knowledge and upload their works in You Tube, to do some promotion and marketing in the social networks, to have access to financing sources such as crowdfunding… Subsidized cinema has passed away, today movies are produced with reflex cameras, a micro and a laptop, and that’s what they lack in Cuba, it doesn’t matter if there is old or new cinema, being Cuban is more than enough.
Author
Cecilia Crespo
