Jorge Enrique Lage interviews Miguel Coyula (extracts) 6
[Miguel speaking]… I am against censorship, as we’ve seen what happened with that film in the Havana Film Festival in New York; it spreads beyond the geographical limits of the island for extra-artistic interests. I mean, politics touches everything.
The worsening of the position goes back to the censorship of the film El Rey se Muere (translated into English both as “Exit the King” and “The King is Dying”) in 2015. Many people defended Juan Carlos Cremata’s work, saying they did not believe that the censors would interpret the king as being Fidel. That is, they used the language of the government to try to address the problem, when it was clear that the reference point was him. What they should have said was “Yes, it’s Fidel. And what of it?”
To the extent that artists draw up their mental blueprint to go “as far as they can” there will never be a truly independent art form. It ends up affecting not just the content, but also the form.
Liberty has to be absolute, in order to be able to take risks, and to take off. Nothing can be sacred. At least, that’s how I see art. I’ve never been interested in being part of the political game, of religion, of the consumer society, or of drugs. It seems like a nothing, but a film-maker, interested in social or political issues, who cannot have one of his characters say “when are Fidel and Raul going to die?”, which is a such a common thing to say in Cuban homes, along with much more agressive variants on the theme, is symptomatic of a dysfunctional whole.
The artist documents his time, but, looking at Cuban films made in the island over the last seventy years, you’d think that no Cuban had ever asked that sort of question. Recently I was told, by way of advice: “You can fiddle with the chain, but not with the monkey, otherwise you are out of the game”. To which I replied: “Who said I see it as a game?”
It is essential that film producers are ready to completely defend their work, because a half-assed attitude only gets you a slow-motion impact, which is inevitably reflected in subsequent works. You can’t give an inch.
But, returning to your question, the most recent case of censorship had to do with Nadie (Nobody), April 15th just gone, when the State Security and the PNR (National Revolutionary Police) blockaded the entrance to the El Circulo Gallery where they were going to show it. This censorship is not an institutional arrangement but a blatant governmental act, a complete invasion of a private space by way of a show of police force.
Many people outside Cuba ask me how can it be possible that no Cuban intellectual living in the island made any public protest about what happened. The film had its international premiere in the Dominican Global Film Festival, where it was awarded the Best Documentary prize, but it has been ignored by the island critics.
We don’t know if it’s good, or bad, or they were left feeling indifferent to it, or if, simply, they were afraid of writing about it, as it’s difficult to make a critical appraisal of Nadie without mentioning Fidel Castro. And, to this day, that’s the line almost no-one has dared to cross.The rock group Porno para Ricardo is one of the few who have dared to confront it, and, well, the price they have paid is that they are not allowed to play in Cuba.
Translated by GH