The relations between Madagascar and La vida es silbar, two movies directed by him in the 90s of the XXth century, period to which is dedicated the event, were extoled in a text of the critic Joel del Río, who was not present at the event but sent his article, included in the program.

With a reflection based on philosophical postulates of the existentialism, del Río explains that both movies try to synthesize the national spirit of this epoch, marked by the economic crisis of the special period.

Madagascar (1994) does it reflecting a constant question of the personages on whom they are and where they go, the interrogations on the future of Cuba in this moment, when it had lost big part of its economic support with the destruction of the socialistic field in East Europe.

For its part, La vida es silbar, premiered four years later, is supported in the same direction but it takes its protagonists to the reunion with the transcendency they look for, even if they are recognized in their own sense of solitude, says the paper of del Río.

In the first meeting of the workshop there were also tackled the elements that define to the cinematography of the ends of the Cuban XXth century.

Also, it was debated on how the 90s enthroned a new look towards the sexual diversity, with this icon that is a Fresa y Chocolate (Tomás Gutiérrez Alea and Juan Carlos Tabío, 1994), and on the need of opening the history of cinema to the independent circuits of production.

Translated by BA in English Language, Manuel Barrera Téllez

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