Jahsira Williams, 2/25 Cinema Novo by Eryk Roucha

It’s a quite romantic idea that the son carries on the ideas brought forth by his father and his collaborators. Reflecting on what was said towards the end of the film, Cinema Novo was never a movement, but an idea that will live forever, to paraphrase.

This film itself is interesting as it is Cinema Novo redux of the productions of the original Cinema Novo group of the 1960s and 1970s. The images they were able to produce make so much sense situated as a descendant of Italian neorealism and a revolutionary attempt at anti imperialism/colonialism. It’s so interesting though– this group of middle class white men had the wherewithal to be class or even race conscious, but they still fell short on their imagination of the Brazilian woman. They very much seem enthralled with the idea of woman-ness because of another that stuck out to me, which I will also paraphrase: “a loved woman and a revolution are the same.” 

Maybe this is a flaw of with Eryk’s interpretation of Cinema Novo ideas, and not with the films themselves. I think the images of naked women can be respectful, beautiful, and/or artistic but it threw me off, especially after Sara Gomez’s work where women have so much voice and agency, regardless of their physical beauty.

Tea del Valle

This week we were introduced to Brazilian Cinema Novo and it’s leading directors including Glauber Rocha, Nelson Pereira dos Santos, Joaquim Pedro de Andrade, and Ruy Guerra. We watched the documentary Cinema Novo from 2016 directed by Glauber Rocha’s son, Eryk Rocha. The film doesn’t follow classic documentary style conventions; there are no present-day interviews. Instead the film montages archival footage, Cinema Novo films from the 60s and 70s, behind the scenes footage, as well as clips of some directors talking about their work and the meaning of the Cinema Novo movement. Like Cinema Novo itself, the documentary takes account of the movement through non-linear storytelling, no use of title cards for the films, and little context is used to situate the history of the movement. Through the montage, Cinema Novo’s themes are presented such as the concept of hunger as both literal and metaphorical, and the role of violence is situated under colonialism and exploitation.

The film we watched in class today simply blew me away. I was very confused when I heard that this film was a mix of fiction and documentary and I was very curious as to how this would function and what results it would have and I have to say I was pleasantly surprised. Yolanda and Mario did a great job of encapsulating characters that highlighted many prominent issues of a revolutionary Cuba, specifically that of men being Yolanda represents the ideal revolutionary cuban woman. However with her character being a White presenting Mulatta she does not adequately represent the same struggles that an afro-cuban woman faces. I think the choice to make her white was very effective because through her character the audience understood the ways that she did not grasp the experiences of afro cuban communities– specifically when trying to discipline her students. She was confused as to why parents would allow their children to behave in certain ways, not realizing that the parents had other concerns (such as putting food on the table) that took priority over disciplining their children. The film addressed intersectionality very well because while a minority as a woman, Yolanda still had more privelege than a black woman.

De Cierta Manera, by Cuban director Sara Gomez, is a revolutionary film that portrays realistic themes about post-revolutionary Cuban society. The film tackles many revolutionary themes such as machismo, class, race, labor, gender relations, integration, etc.

There is no successful character in the film. The film intentionally does not give itself a happy ending as is common in Hollywood movies. The purpose of the film is not pleasure, but to teach its audience a lesson and hopefully advance social norms. Although the films protagonists walk off into the sunset in the films end, they are not necessarily successful. Yolanda is clearly shown to be racist, despite espousing liberal ideals to her afro-cuban boyfriend and Mario is treated as lesser by his girlfriend and friends after selling out his friend in an emasculating manner. In an important scene, Yolanda treats a young white schoolboy well, saving him from legal trouble and getting him lunch to avoid his becoming a hoodlum. She goes above and beyond as a teacher to help this boy and is forgiving of his mother and her situation. Later in the movie, however, she berates a black boy’s mother who works harder than Yolanda or the white boy’s mother when the boy does not pass the class. Despite Yolanda’s outspoken views that are allegedly backed up by liberal views, she draws the line at race and is clearly bigoted. When Mario does what his girlfriend wants him to, the power is taken from him so he does the right thing. However, when Mario talks on Santiago he gets little praise from his peers and only little praise from Yolanda’s brother who is clearly racist and does not care about Mario’s well being or understand his perspective. This shows how often we want people to do the “correct” thing, but are not willing to understand their perspective or how it will affect them and instead expect them, especially if they are marginalized, to shut up and do the right thing. So in the end Yolanda does not reward Mario yet expects him to be macho for her showing she does not respect him and she has failed as a teacher. These people are not good revolutionaries as they do not work together so the film acts a cautionary tale to the viewer.

Overall this film is very informative on social norms and cultural expectations and how they disrupt our otherwise perfect idealism or way of life. Sara Gomez creates an educational piece and gives the viewer perspective on their own lives by displaying the lives of other marginalized people. These characters are not bad people, they are just human, and Sara Gomez accurately highlights this in De Cierta Manera.

Sara Gómez’s short documentaries—Iré a Santiago (1964), Guanabacoa: Crónica de mi familia (1966), Una isla para Miguel (1968), and Mi aporte (1972)—are seminal works in film history, offering profound insights into post-revolutionary Cuban society and Afro-Cuban culture. In Iré a Santiago, Gómez presents a nuanced portrayal of Santiago de Cuba, capturing its vibrant streets and rich cultural tapestry. Guanabacoa: Crónica de mi familia delves into her personal heritage, exploring the Afro-Cuban traditions of her family and shedding light on the broader societal context of the time. Una isla para Miguel examines the re-education efforts on Isla de Pinos, following a young man’s transformative journey within the revolutionary framework. Mi aporte addresses the evolving role of women in Cuban society, highlighting their contributions and the challenges they face. Collectively, these films are pivotal for their authentic depiction of underrepresented communities and their critical perspective on the social transformations occurring in Cuba during the 1960s and 70s.

Engaging with these documentaries has deepened my understanding of the complexities inherent in cultural identity, social reform, and the lived experiences of marginalized groups. Gómez’s innovative approach to storytelling, blending personal narratives with broader societal issues, offers a compelling and intimate perspective on the challenges and triumphs of a nation in flux. Her work not only enriches the tapestry of film history but also serves as a testament to the power of cinema as a tool for social commentary and change.

Octavio Getino and Fernando Solanas’s “La Hora de los Hornos” (The Hour of the Furnaces) is a seminal work in film history, emblematic of the Third Cinema movement that sought to challenge colonial and neocolonial narratives through revolutionary filmmaking. The film offers a comprehensive analysis of Argentina’s socio-political landscape in the 1960s, dissecting the pervasive impacts of neocolonialism and systemic violence. Its innovative use of montage and juxtaposition serves not merely to depict reality but to critique and transform it, engaging audiences in a dialogue about oppression and liberation. This approach underscores the power of cinema as a tool for social and political change.

Santiago Álvarez’s documentaries, such as “Now!” and “LBJ,” exemplify the potency of agitprop cinema in confronting pressing social issues. “Now!” employs found footage and a dynamic soundtrack to highlight the struggles for racial equality, creating an urgent call to action against injustice. Álvarez’s rapid production methods and innovative storytelling techniques reflect a commitment to immediacy and relevance, ensuring that his films resonate with contemporary audiences. Engaging with Álvarez’s work has deepened my understanding of how film can serve as a catalyst for awareness and activism, demonstrating the medium’s unique capacity to document and influence societal discourse.

“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

Sara Gomez’s de Cierta Manera was the only feature film she was able to produce before her tragic death. While this fact is disheartening, the film works as a solid example of what truly highlighted the mind of a revolutionary who saw the social hypocrisies of a post-revolution Cuba. The issues raised of class, race, and gender all intersected in the narrative surrounding Mario and Yolanda’s growing love. During the discussion after watching the film, I can look back at moments in which the themes of class tensions was the umbrella of all the other issues that followed for characters in the film. Such as one of Yolanda’s students’ mothers being questioned by Yolanda about why she beats her son. To which the mother says it is to keep him in order as he does not stay out of trouble and constantly slacks off in school. The mother only wishes to have her son home with her and her other children to help take care of things around the house despite him not even being in the double digits. This is one example of how the low income neighborhood in which Yolanda teaches in have to deal with hard choices between fostering a child’s education versus basic survival that maybe dependent on a child having to sacrifice their own schooling to take on a role as an extra provider for their family. Yolanda as a character who comes from a more well off background fails to understand this perspective throughout her arc. While it is refreshing to see a woman like Yolanda who can hold her own stance and is educated she still remains ignorant to the realities of which her students and their families live. Mario is that voice of reason, being he comes from the same beginnings as the lower income residents of Cuba he is a product of poor education and traditional thinking that clashes with Yolanda’s progressive lifestyle. Overall, their dynamic suggests from Gomez there is a lot of deconstructing/reframing of how Cuba should proceed with the revolution to truly include everyone.

After watching De Cierta Manera by Sara Gomez, I was left with several points that I enjoyed. I think her half-documentary, half-movie style, did a fantastic job of creating an atmosphere. I think many mediocre movies don’t do a good job of creating a livable and breathable world. Sara Gomez puts you in the minds of not only her main characters in the movie but who they represent in Cuban culture. Since there was such a shift in the ideals of men at the time and a general acceptance of more women’s rights, I think the sadness in the documentary parts from the main actress helps build sentiment for her. The fact that the main actor doesn’t partake in those parts of the movie and is strictly a character of sorts plays well into building a reputation for him. I think my favorite part of the movie was her explaining to him how he changes up acting in front of her versus his buddies. We see this when his friend, who was a boxer, runs into him. He goes from an abusive-sounding jerk to all cool, calm, and collective. When the couple is together, he’s open-minded and willing to dive into his feelings. And I just think the scene of him admitting why he enjoys her despite him not wanting to do so shows you where the main characters are in the movie.

Evie Rosheger

After watching De Cierta Manera by Sara Gomez, I felt enlightened. The fiction/ nonfiction hybrid aspect to the film allowed me to further immerse myself into the realism portrayed in the film. Every character was allowed the space for complexity. I think something Sara was doing with this film was expressing her knowledge that the revolution was not done. It was not complete. She brings forth so many nuances that come with something like a revolution. The complexity of gender and culture, dancing on the line of erasing that culture for the sake of gender. The work here is not finished, is what I think Gomez is telling us. A relationship like Yolanda and Mario’s is a product of this half-baked revolution. A young woman, from an upper-class background involving herself in communism and teaching students while also dating a working-class man. I don’t see this as preformism on Yoland’s behalf, yet it does feel as though she is checking off boxes in terms of what a young revolutionary should do. And that is where we see the complexity of the characters shine through. The film reads overall as an encouragement for Cuba to strive for more.