Tell stories and make art from television - Ips Cuba
“Durante mucho tiempo nos pareció que hablar del cine para pantalla grande era superior a hablar del cine que se ha hecho para televisión”, asegura el ensayista Juan Antonio García Borrero. Desde este ángulo, las “películas de verdad” son las que hace el Instituto Cubano del Arte e Industria Cinematográficos (Icaic), desde 1959, y se exhiben en las salas de cine.
When investigating the "audiovisual body of the Cuban nation", they move to the productions for the small screen, whose background date back to 1954 with the legend of the bandit, by Gaspar Arias.The premiere in the Juvenile magazine a street, a thousand paths of striker motivates the dialogue with the director of this television.
Iran Hernández Castillo (Havana, 1989) addresses male homosexuality in adolescence through the history of Freddy (Víctor Cruz), a young man who discusses between the recognition of his sexual orientation and family and social acceptance.
With the advice of Charlie Medina and photography by Claudia Remedios, she also had the performances of Yuliet Cruz, Jorge Martínez, Omar Alí and Alejandro Palomino.
Graduate of Digital Art at the San Alejandro and Directorate Academy at the Higher Institute of Art (ISA), Iran has made documentaries and short fiction as will, the sea changes, we, the band and Molotov.With the latter he won the Caracol Prize of the Union of Writers and Artists of Cuba, and the City Light Grand Prix at the Image Warehouse Festival, in Camagüey.
He has also participated in several personal and collective exhibitions, and is the author of the comic talking to Gato, gathered in a volume of nearby appearance by the East publishing house.
Un telefilme es otra oportunidad para comunicar ideas
EPP: What motivated you to enter a genre that is intended for a broader audience, say that anyone who feels at that time in front of the TV, and that has marked characteristics, different from what you had done?
IHC: Artistic creation motivates me in several edges: comic, illustration, cinema, television.A telephilme is another opportunity to communicate ideas, to express myself, in this case in a massive way.
If we talk about preferences, I choose cinema, because you have more time to work the script (in many cases the stories are gestated for years);more pre-production time, which allows you to be more exquisite in the details (which is obsessed);More time to film (in cinema the average is to do three minutes in twelve hours of filming; on a television it is double), and more for post-production.
That allows in the edition, set up, disassemble, rearm, try new things, break them and go back.
While the cinema looks for a richer and more complex legeuage, it becomes difficult on television for times and budgets.Although my professors Charlie Medina and Magda González Grau insisted on not ruling out, because it is also a valid opportunity to tell stories and make art.
EPP: What were the main challenges you raised or those that you were later facing in the process of carrying out?
IHC: The challenges are always diverse.The main ones, in this case, begin from production, with work to obtain filming permits, since the authorization letters must pass several filters and delays occur due to this factor.More than one production has stopped processes, having to wait weeks and even months on account of permits that were not yet.Everything originates, I think, the extreme control exercised by the authorities responsible for giving permits.
On the other hand, television times are more accelerated.Front had to be recorded in ten days, even being a filming with complex characteristics: several locations, a not very small cast and demanding sequences such as football.
I was able to achieve some rigor and have a football coach who prepared the actors and created the choreographies of the games;a martial arts coach, a Yoga instructor, an actors coach;the script advice of Eduardo Eimil;and a search for exhaustive and meticulous locations as much as possible.
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In many sections I had the opportunity not to stay with the first option to reach an optimal result, although you always have to do concessions, more than one would like.
Romper estereotipos e ideas preconcebidas
EPP: Did you propose to evade stereotypes that exist in the representation of male homosexuality?
IHC: The work on the script as a striker began in 2017. There were delays because there were other pending records to recording and then the COVID-19 came.When they proposed to work this issue from the writing of children's and youth dramatists, I found it a very good opportunity to talk about the different ways of being a man.Even in the case of homosexuality there is diversity when assuming and expressing it.That intention itself leads to breaking preconceived stereotypes and ideas.
EPP: Front part of Freddy's internal conflict, its protagonist.In these productions, the story (say that the content) becomes more important or at least more attractive to the public, than the form (realization) ...
IHC: For me content and form are the same thing.When I write the story, the tempo comes to mind, the way to film it, act it ... although that is transformed into the process.The separation between them occurs because, in effect, the same script can be filmed in a thousand ways.
Fernando Pérez says that each person who reads a script, builds his own film following the interpretation of that reading.Therefore, apparently, they are separate issues, because I have to translate my vision into a common technical language.
Everything has to be attractive, what is said and how it is said.A work of art is also an act of seduction.
EPP: How important do you think the actors address is in front?
IHC: Eimil and I wanted to work containment.Cinema is not reality, it is a representation, and we were interested in stylizing performances.We do not invent it, it is common in foreign productions, and it seems to us that there is beauty in that way of doing, in the neutrality to express emotions using the minimum, maintaining the search for truth in action.
That content act is not only from European cinema, you see it in those of superheroes, in the television series and in the very very cuban films of Tomás Gutiérrez Alea.It is not a novelty in the Cuban audiovisual, but it is not common on television, where the performance is worked from overflow;And it's not that it's wrong, it's just an aesthetic choice.That sobriety comes from the text, in the dialogues, in what is left out of history, in the silences ...
Que la historia no te deje emocionalmente indiferente
EPP: What do you think should be the acceptance of the striker?
IHC: The way to discuss the issue can be one of the reasons.The construction of attractive characters that gain the attention and empathy of the spectator in the first minutes (at least in the conventional way of making stories, there are many ways to tell), with dimensions, lights and shadows;And above all, that the story excites, not to leave you emotionally indifferent.
I looked for the spectators to feel empathy for Freddy and appealed to what
We all seek approval and recognition, but not always what we like, what we believe, what we feel or do, has the approval of people who have been our patterns to follow, and despite the risk of loss, we feel the need to be consistentWith our true self -realization needs.
EPP: Do you have any other telefilme or work in process?
IHC: I am working on the following project.I chose a topic and just start the investigation.I do not want to advance the theme, but it is equally hard and complex as in front (2021).