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Why did I go to the cinema that night?

I do not ask this question with the intention of explaining about the minutes I spent to self-analysis on that dark at that screening room; but to wonder myself about the reasons that made me to remain seated on an armchair until the end of the film.


16 de diciembre de 2016 - By Lester Upierre

I do not ask this question with the mere intention of explaining about the minutes I spent to self-analysis on that dark night at that screening room; but to wonder myself about the reasons that made me to remain seated on an armchair until the end of the film.

Having a trifling contact with the well-known A streetcar named desire, the movie Sharing Stella -if we are brave enough to call that audiovisual a movie-, ventures into the assembly of the aforementioned drama from its initial conception: the casting to track down the actors and identify the character of Stella, who, in spite of not being the protagonist, is seen by the director as the main actress.

A publisher friend advised me once not to base my criticisms on academic concepts and technicalities, but get closer to the work from the recipient's perspective  and then, put forward my arguments.

This Cuban-Colombian joint film's cast is mostly composed of young actors, over those I'm not able to emit any insulting criterion, since their training has nothing to do with the result seen on the screen. As regards to Sharing Stella, I am just disappointed to see that, even those performances which seem to be more natural, closer to their personalities, become coarse caricature of themselves and an extreme joke to the performing arts. For this reason, I prefer not to mention anyone's names in this article.

The movie's intention,  to say it in some way, might be the debate of a generation on whether or not to migrate to other places much beyond Cuba, taking into account  the restoration of the relationships between the Caribbean Archipelago and the United States. Such political context is used as a support, a spear, a point to mantain a speech that gets lost amid the vague judgements of each character.

The script is less than satisfactory; actually, it did not please me at all. If a movie starts with such coarse, sustained over time, nothing good could be expected from it. The marginalization of a human being is also seen in the language used by him/her; however, the mouth shoots what the mind writes, so the evil comes from inside, becoming a monster hard to be eliminated. Today's domestic artistic world exploits too much these words to exploit emotions; nevertheless, the resource may be doubly enriched  without them, though Cubans use them daily.

At times, itlooks like a regula film; at others, it seems to be  a documentary film; the camera is a disrespected toy. If the audience's eyes are that instrument, since the eyes of the respected viewer turn to be capricious, ridicule, impossible. Many may say it is an independent, necessary, even refreshing vision; however, the Cuban cinema has featured these three adjectives, and much more, without provoking apathy and abandonment of  the screening room.

At the end of the film I commented to my colleagues what I thought about it. They agreed with me on some aspects, always criticizing my very strong positions. Then, I told them how important it is to watch both  good and bad movies, to have a fair criterion...

At the beginning of this article, I asked the question: Why did I go to the cinema that night?

The answer may seem to be more clear now: because I wanted to verify, with my own eyes, what  constitutes an offense to such a renowned art in our nation.


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