HUM­BER­TO SOLÁS RE­TURNS TO CANNES FES­TI­VAL

Arte por Excelencias - - Francia -

Fifty Mays went by ever sin­ce that May of 1982 when that Ce­ci­lia rat­her of Hum­ber­to So­las's than Vi­lla­ver­de's was part of the of­fi­ci­al sec­ti­on of the 35th Cannes Fes­ti­val. Fi­nally, the film that re­pre­sen­ted Cu­ba for the third time in this event was not the win­ner, alt­hough lo­o­sing in a tight com­pe­ti­ti­on with films such as Mis­sing and Yol that sha­red the Gol­den Palm awar­ded by a jury com­po­sed, among ot­hers, by Ga­bri­el Gar­cía Már­quez. Ne­vert­he­less, the 70th edition of the fes­ti­val brought Hum­ber­to Solás back, al­re­ady de­ce­a­sed, through his mas­terly first work: Lucía (1968), scre­e­ned last May 27 in the 7:00 pm per­for­man­ce at Luis Buñu­el Hall.

For the se­cond ye­ar in a row, a Cuban film res­to­red with the joint ef­fort of ins­ti­tu­ti­ons such as The World Film Foun­da­ti­on, he­a­ded by Mar­tin Scor­se­se, and the L'im­ma­gi­ne Ri­tro­va­ta la­bo­ra­tory from Bo­log­na Ci­ne­mat­he­que, in­te­gra­ted Cannes Clas­sics sec­ti­on. Whi­le in the pre­vi­ous edition Me­mo­ri­as del sub­des­ar­ro­llo, by Tomás Gu­ti­ér­rez Alea, was scre­e­ned, now so was Lucía, that triptych of wo­men im­mer­sed in dif­fe­rent his­to­ric en­vi­ron­ments. Sin­ce Ja­nu­ary, Ci­ne­ma­te­ca de Cu­ba and the he­ri­ta­ge di­rec­to­ra­te of ICAIC en­cou­ra­ged this new ini­ti­a­ti­ve that con­tri­bu­tes to pre­ser­ve an outs­tan­ding tit­le of our na­ti­o­nal film he­ri­ta­ge in anot­her strug­gle against the scar­ce avai­la­ble time left to res­to­re the ori­gi­nal ma­te­ri­al, al­re­ady much da­ma­ged. Al­most a hun­dred spe­ci­a­lists from the pres­ti­gi­ous lab de­vo­ted them­sel­ves en­ti­rely to the res­to­ra­ti­on so that Lucía would be able to be pre­sent in Cannes.

And the­re was the mi­ra­cle! Es­lin­da Núñez, the main cha­rac­ter of the se­cond story, flew spe­ci­ally the­re to redis­co­ver this ac­clai­med work. Along with her, ot­hers sha­red the ama­ze­ment for the new li­fe of the film such as Iván Gi­roud, di­rec­tor of the Fes­ti­val In­ter­na­ci­o­nal del Nu­e­vo Ci­ne La­ti­no­a­me­ri­ca­no, and Ser­gio Ben­ve­nu­to, his nep­hew, and the res­to­rers from Bo­log­na. The ex­tra­or­di­nary ima­ges of pho­to­grap­her Jorge Her­re­ra had a pro­found im­pact on them and on the spec­ta­tors who we­re able to ad­mi­re them for the first time. Af­ter the scre­e­ning, so­me com­men­ted that Lucía was much bet­ter and mo­re sig­ni­fi­cant than any of the tit­les se­lec­ted for the dull Of­fi­ci­al Sec­ti­on of a fes­ti­val that is now ce­le­bra­ting its 70th an­ni­ver­sary.

Es­lin­da Núñez y Hum­ber­to Solás en el set de fil­ma­ci­ón.

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