Cuba, an isolated island nation, rebuilt its quality of life following the collapse of cheap oil, supplied by the former Soviet Union. This fascinating and empowering film shows how communities pulled together, created solutions, and ultimately thrived in spite of their decreased dependence on imported energy.
UntitledCuba
4 Archival description results for Cuba
After a year of guerrilla warfare in Bolivia with a small group of 52 comrades, Che was now dead. His dream of uniting Latin America through armed revolution had come to an end. The person who, more than any other, has gone down in history as guilty of Che's death is his former lieutenant, Ciro Bustos. When captured, he drew Che's portrait for the Bolivian army. Since then he has been living in silence. He now appears for the first time in a documentary film. His version of the events raises questions about how history is written.
UntitledThe films of Cuban director Santiago Alvarez exist as a kind of fractured mirror on the last 40 years of American history - a subversive alternate history. A film career that began only with the triumph of the Cuban Revolution in 1959 and continued until his death in 1998. This is a compilation of his films: Now, Cerro Pelado, Hanoi Martes 13, Hasta la Victoria Siempre, L.B.J., 79 Primaveras, El Sueno del Pongo and El Tigre Saltó y Mató... Morirá... Morirá.
UntitledWhat is a filmmaker? It is this vague, perhaps vain question that Travis Wilkerson hoped to answer clearly when he went to Cuba to question Santiago Alvarez, a legend of militant cinema. Although he had seen none of his films, Wilkerson did an interview with the master that quickly became something of a combined lesson in film and history, with Alvarez presenting his many essays and adding commentary. On returning from his trip, Wilkerson was very disappointed. The camera had recorded nothing of these very warm-hearted, instructive sessions, neither sound nor pictures. Technology had let him down. Alvarez's face and voice vanished, almost at the same time as himself. So only his films remain. His portrait remains to be done, to be made from scratch, from memory. This is why this homage to Alvarez is presented, according to a certain poetic tradition, in the form of a mélange. It includes Wilkerson's autobiographical parts, archive footage, excerpts of films made for Cuban television and pictures taken today, assembled with no concern for hierarchy or precedence.
Untitled