“De Cierta Manera” (One Way or Another), directed by Sara Gómez, holds a significant place in film history as a pioneering work that seamlessly blends fiction and documentary to explore post-revolutionary Cuban society. As Cuba’s first female filmmaker and one of the few Afro-Cuban directors of her time, Gómez utilized her unique perspective to delve into issues of race, gender, and class. The film portrays the challenges faced by marginalized communities in Havana, highlighting the tensions between traditional values and the transformative ideals of the revolution. Gómez’s innovative narrative approach and focus on Afro-Cuban culture have cemented the film’s status as a landmark in both Cuban and feminist cinema. The film follows Yolanda, a progressive school teacher, and Mario, a factory worker from a marginalized neighborhood. Their relationship serves as a lens through which the film examines machismo, class struggles, race, and the challenges of social change within the revolutionary Cuban context. Set in the Miraflores neighborhood, a former shantytown being integrated into socialist society, the film critiques the persistence of pre-revolutionary ideologies, particularly in gender relations and racial inequality, despite Cuba’s socialist policies.
Yolanda is a strong, independent, and progressive educator who represents the ideals of the Cuban Revolution’s efforts toward social transformation. As a teacher, she seeks to instill new values in her students, emphasizing equality, education, and the breaking down of old societal norms. However, her relationship with Mario highlights the challenges of implementing these ideals in everyday life. She faces resistance from Mario and his male peers, who struggle to accept her independence and forward-thinking mindset.
Rooted in traditional machismo, Mario initially upholds patriarchal values, viewing Yolanda’s independence as a threat to his masculinity. His friendship with Humberto, who resists societal changes, contrasts with Mario’s own internal conflict between old-world perceptions and the new revolutionary ideals. Throughout the film, Mario’s relationship with Yolanda challenges his ingrained beliefs, pushing him towards self-reflection and growth.
The film delves into several societal issues, notably gender roles, class disparities, and racial identity. Despite revolutionary progress, men still expected women to be submissive, highlighting the slow social adaptation to political change. It critiques the persistence of traditional gender roles and the challenges women face in achieving equality. The film also underscores inequalities within Cuban society, especially between different social classes, and examines how education and social policies attempt to bridge these gaps. Additionally, it indirectly addresses Afro-Cuban identity, an issue often overlooked in mainstream revolutionary discourse, illustrating how many Black Cubans, like those in Miraflores, faced systemic struggles despite the revolution’s promises. These themes resonate with ongoing societal issues today, such as gender inequality, economic class struggles, racial disparities, and cultural resistance to change. Many societies still grapple with machismo and sexism in professional and personal life, wealth gaps persist even in socialist and capitalist societies, Afro-Latin communities continue to fight for visibility and equal opportunities, and deep-rooted societal norms take longer to shift despite political changes. Conclusively Sara’s work serves as a poignant reminder that true societal transformation requires more than policy changes; it demands a deep-seated shift in cultural consciousness. The themes explored in the film remain relevant today, prompting reflection on the ongoing struggles for equality and social justice.
– Amyy Mubeen
