Cuban producer Juan Carlos Cremata move the audience at the Film Festival of Traverse City

04/08/2010 at 5:12 pm Leave a comment


Viva Cuba

Participants in a talk about Cuban cinema convened by the Film Festival of Traverse City, in the US state of Michigan, were moved after knowing that the United States protects two confessed terrorists, who enjoy freedom in Florida.
While speaking at the colloquium, Juan Carlos Cremata, who brought to this city his film Viva Cuba (Long Live Cuba), co-directed by Iraida Malberti, referred to how “my father was cruelly assassinated in the prime of life during the terrorist attack against a Cubana airliner in 1976 and that nevertheless two of the confessed assassins (Orlando Bosch and Luis Posada Carriles) of my father walk with impunity on the streets of Miami.”
Carlos Cremata Trujillo, a worker for the Cuban airline, died on October 6, 1976, at the age of 41, along with another 72 passengers and the crew, when the aircraft exploded in mid air as a consequence of a bomb, off the coast of Barbados.
Michael Moore, a celebrated documentary maker and main promoter of the Festival, began his conversation with the audience with a question: “What have Cubans done to the US people for such a fierce blockade to be imposed on that nation -for more than 50 years now- , which has maintained two countries that are so close geographically, socially, culturally and historically not only estranged from each other, but also almost as strangers?”
It was then when Cremata, besides talking about his experiences as a relative of a victim of terrorism, spoke about the obstacles imposed by successive administrations of the White House for free exchanges between the United States and Cuba.
Moore asked the audience if anyone knew about the blowing-up of the Cuban aircraft and about the presence and public life of Bosch and Posada in Miami. There was a deathly but respectful hush. Nothing is said about this by the media outlets in a country that blazons abroad the leadership of an antiterrorist crusade and invades faraway nations under that pretext.
Then, questions and comments began to shower in a hall full of people wanting to know more. And, of course, participants were given details about film production in Cuba and about how people live and create in a small island that even though it has economic problems, doesn’t stop producing artists.
Mirtha Ibarra talked about her experiences as an actress next to her late husband, Tomás Gutiérrez Alea (Titón). Rosa María Rovira, from the department of International Relations of the Cuban Film Institute (ICAIC), offered a panorama of the island’s cinematographic production, inside and outside that institution. She highlighted the strong presence of the Festival of the New Latin American Cinema held every year in Havana, as well as the support given to new directors by way of the Festival of Young Producers and the creation of alternative models for production.
For his part, Ian Padrón focused on his training at ICAIC and the career he has developed out of the institution, an effort that has had the support of both the critics and the public.
The friendly conversation lead to a question launched from the audience: How can the US public be educated so they see more films from different cultures and especially Cuban movies?

Source: Periodico 26

Entry filed under: CUBAN CINEMA, FILM FESTIVALS, IN SPANISH..., LATIN AMERICAN FILM. Tags: , , , , , , , , , .

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