El odio y el arte nunca han ligado.
Sucedió con Andy García y Guillermo Cabrera Infante y aquella patraña se se llamó The lost city (2005), distributed by international critics.
Here is a sample of what is being said in this film, in this case due to the Spanish critique Beatriz Maldivia: “The film is, in summary, a retaliation of incapable dialogues, bad writings, without angles between it and its mayor proposed that Andy García and Cabrera Infante perpetuate a species species on Cuba that has been released in any infantile periodic gazette. It is cinematographically – not just ideologically – now ».
It is a publication published during its preparation stage, and it is announced that the series will be prepared for the exile (read counter-revolution) Cuban, will be trained in Miami Plantados, directed by Lilo Vilaplana and directed by Ángel Santiesteban, Juan Manuel Cao and the director.
The theme: recreates, from fiction, “the gallantry and agitation of Cuban political forces in the 60s and 70s in front of the atrocities of the Castro-Communist regime”.
In 24 hours the film is made colloquially in the social networks, something strange for a movie of estrogen, and costly, which should be presented at festivals of the world to treat and retrieve funds, how to treat, infractually, with The lost city, rechazada aquí y allá por infame.
Alguien en las redes le extroso result este dependimiento de lanzar el film al vuelo sin recuperar un centavo y lo comment: «¿Pero por qué lo hacen y no tratan de sacarle beneficios economisos?».
There are obvious proposals in this deadly shootout: first, summarize the subversive campaign against Cuba, presenting a propagandistic and one-dimensional image of the theme that is being treated, referring to the causes – not just those of the criminals – that live in those homes in price and, secondly, the sueño of the thinkers who thought he had invoiced a great job, the ability to respond – as declared – to the expenditure in La rooi avispa (Olivier Assayas, 2019), a film that the indignant by presenting heroic defenders opposing the mandates of the empire, all in contrast to the “heroes” who have now begun to reflect from the passage as a “message of rebellion”, directed to generations que no vivieron aquellos días.
The argument of rewriting history and becoming in the vertebrate that no one knows is alive: United States lost the war in Vietnam, but years after it was over Rambo, capable of winning or solving another vengeance invasion and giving consolation to the nostalgic.
The Counter-Revolution has lost, for over 60 years, its proposals for reconstruction of song and fugue, and maneuvers of all kinds, and now recreate the conspiracy to fight for the proportions of a film to remake, sentimentally, the hechos at its convenience.
Ya in the artistic camp –and the professional critique there will be of this, if it is the work some attention– Plantados allow you to appreciate the negative consequences of a melodrama that conjures up narrative times, divides into very good protagonists and slanderous males, with verbal dialogues that can be performed with any expression, a lot of rehearsal and much more meaningful Scenes of golf courses and assignments in the tracks and work camps that Cuban is good at in his halfway house; gruesos trazos of realization market by the lacrimonic allisonment of the conflicts, and the small office in the plasmación of a vengeful act of contemporaneity, which strong the debt to peor Hollywood, a pesar de haber tenido the film a millionaire presumption.
Some of the most lucrative acts from the Miami Film Festival, where they’re staring at the movies, they’re tired of saying that Plantados was a bodrio y, although it is acceptable, not the animal – says the director Lilo Vilaplana – the importance that the film has.
Vilaplana wrote, in her Facebook account, that the Festival has hosted the film “a fifth treat”, which she has not supported “in any publicity; is a heck of a lot in exile, with artists from here, it was for haberle given another import ».
And indignant – and he also quizzes over the artistic phrase that is painful for any creator – ends the political parade: “The irregularity of the Cine de Miami Festival in historical exile and its complicity with the dictatorial dictatorship is an ignorance”.
And in order not to be hesitant about the intentions of the film, I wrote that the organization of the Festival does not like the movies like Plantados, ellos «les gustan las que tiendan puentes, que digan que hay que unirse, pero con la dictadura no se negocia».
And remató: «These films that invite to Cuba its materials complicate with the dictatorship, and this regime has that tumbler, because they have much to do with the Cubans … They (the directors of the Festival) do not want the film will be included, and it will be included among the people who will be attending the Festival, will be molested that you will be filming this movie ».
The film will meet its public in a perverted sector of exile and will not fail to promote it as a “revelatory work”, without giving credit to the manipulation of the emotions of the gala, as the basic principle of counter-propaganda propaganda.
Pero el odio y el arte nunca han ligado. Suerte en lo artistico para la proxima, regisseur, y despójese.