With 1968’s radically intimate and formally daring Memories of Underdevelopment, Tomás Gutiérrez Alea achieved what was then an unprecedented level of international attention for a Cuban filmmaker, winning awards in places as far flung as Czechoslovakia and the United States, where the film was initially banned. But the densely layered drama—which combines elliptical editing and subjective camera work to tell the story of a bourgeois intellectual (Sergio Corrieri) who finds himself adrift in postrevolutionary Havana—proved no less of a revelation at home. In the above clip, taken from a supplement on our new edition of Memories, critic José Antonio Évora assesses the outsize impact that the film had on the fledgling Cuban cinema. A cofounder, in 1959, of the Instituto Cubano del Arte e Industria Cinematográficos, the government-run film commission, Gutiérrez Alea showed with Memories—and its restlessly critical and deeply conflicted protagonist, with his pronounced disengagement from the political reality he’s living in—that a film could serve the revolutionary cause not by parroting the state’s party line but rather by calling “everything into question,” as Évora says.
Why Swing Time Is the Greatest of All Dance Films
In this excerpt from an interview on our new edition of the Astaire-Rogers classic, dance critic Brian Seibert explains how beautifully and cleverly the film integrates dance into the structure of a romantic-comedy plot.
A Moody Meditation from the Set of Blue Velvet
In a rarely seen documentary about David Lynch’s 1986 masterpiece, the director and his star, Isabella Rossellini, give their candid impressions about the creative journey they’ve embarked on together.