HAVANA, Cuba- I confess that I have some animosity against Cuban fiction film, so prone — with few exceptions — to clichés, stereotypes, overly cryptic messages, implied story morals, or what is perhaps worse, the search for easy and superficial acceptance through humor, catharsis or bad satire. I will not list examples, because there are too many, but anyone who has seen a vernacular film of the last 15 to 20 years knows exactly what I mean. Personally, I hate the delight in trying to provoke laughter at the expense of our own misfortunes, derived largely from the pernicious tendency to exploit mockery in order to avoid deep reflection and collective responsibility for the reality that chokes us.
Only a handful of movies from this period preserve dignity, and most of them do not properly fit the genre of fiction, they are documentaries, such as the masterful and unforgettable Suite Habana (2003), directed by Fernando Pérez, to quote a valid example.
That is why, since the beginning of this cinematic phenomenon called Conduct, with the fanatic public filling theaters and with the general approval of viewers and critics, I decided to go see it, only after a process of self-estrangement, and to not write about it as cinematographic product film — something the critics and a whole host of admiring amateurs have already done — but from the perception of the public’s reaction and what it means.
It is fair to recognize that, in the presence of this movie, it is impossible for a Cuban to put distance between the screen and his emotions. The imagery, the dialogue, the plot and sub-plots, the settings and the conflicts it exposes so crudely, are elements that combine to place before a viewer’s eyes the reality of the lives we share and which we hardly notice, immersed in the necessity of an existence full of shortages and unresolved problems.
The plot consists of a central drama, a child of an alcoholic and substance abusing mother. At the same time he pursues elementary school studies, the child also works tending fighting dogs and raising pigeons, which he sells in order to earn money, thus helping his mother. He simultaneously maintains a close bond with his teacher, an experienced educator and very dedicated to her profession, her main reason for living. The child (Chala) and his teacher (Carmela) are characters of great strength and intensity, perfectly articulated and credible. Continue reading