Arte por Excelencias - - Cuba -

Still im­mer­sed in the ce­le­bra­ti­ons for the 200th an­ni­ver­sary of the city foun­da­ti­on, Gibara hos­ted, du­ring April 16 to 22, one mo­re edition of the fes­ti­val cre­a­ted by myt­hi­cal Hum­ber­to Solás who mo­re than on­ce fil­med at lo­ca­ti­ons of this co­as­tal town to cap­tu­re ima­ges of a cre­a­ti­ve uni­ver­se that re­pre­sent a go­od sha­re of the best of Cu­ba´s ci­ne­ma iden­tity.

The­re is anot­her re­a­lity ever sin­ce Hum­ber­to stri­ved to turn this com­mu­nity, for a few days, in­to the fo­cus of at­ten­ti­on of the sets and ca­me­ras world and art in ge­ne­ral, and to turn its in­ha­bi­tants in­to the au­di­en­ce and ma­na­gers of va­ri­ous ar­tis­tic de­eds. This is why its cur­rent pre­si­dent, ac­tor and film di­rec­tor Pe­ro­gur­ría — the main ac­tor in Fre­sa y cho­co­la­te— stro­ve to bro­a­den the ho­ri­zons of an event that stretc­hed beyond the nar­row li­mits of what may be con­si­de­red “po­or ci­ne­ma”, and shot it to pu­bli­city with a new la­bel: Fes­ti­val In­ter­na­ci­o­nal de Ci­ne de Gibara (Gibara´s In­ter­na­ti­o­nal Ci­ne­ma Fes­ti­val.)

Its or­ga­ni­zers —with ti­re­less Ra­fa­el Ro­sa­les in char­ge—, and not for­get­ting the ar­tis­tic as­sump­ti­ons for which Solás fought, gat­he­red a group of cre­a­tors around them from va­ri­ous ar­tis­tic ex­pres­si­ons that cham­pi­on for re­vo­lu­ti­o­nary art in the fu­llest me­a­ning of the word, and who de­li­ve­red their ta­lent for Gibara pe­o­ple du­ring tho­se days. Any fes­ti­val around the world would envy the pre­sen­ce of sin­ger­songw­ri­ters such as Pa­blo Mi­la­nés, Panc­ho Cés­pe­des, Kel­vis Oc­hoa, Is­sac Del­ga­do, Da­vid Tor­rens, Da­vid Blan­co y At­ha­nai who, ad­ded to ac­tors Ima­nol Ari­as, Vic­to­ria Abril —Spain was the ho­nor guest of the Fes­ti­val— and Be­ni­cio del To­ro, as well as Cu­bans Ma­rio Bal­ma­se­da and Ma­rio Li­mon­ta, who we­re paid a spe­ci­al ho­ma­ge, ma­de a far from in­sig­ni­fi­cant ca­pi­tal of the world art out of Gibara.

Now, we do ha­ve to find a way to en­han­ce ci­ne­ma in Cu­ba, the rai­son d´etre of an event that has got to spre­ad beyond our bor­ders and cap­tu­red the at­ten­ti­on of the eyes of the world. A crow­ded mo­vie the­a­ter can­not be the mo­no­poly of an ope­ning and a clo­sing show: and a half-empty mo­vie is un­for­gi­va­ble for Gibara that, as the spot re­ads, de­ser­ves a fes­ti­val such as this.

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