This study of Cuba--partially written by renowned poet Yevgeny Yevtushenko--captures the island just before it made the transition to a post-revolutionary society. Moving from city to country and back again, I AM CUBA examines the various problems caused by political oppression as well as by great discrepancies in wealth and power. Beginning in Havana in the pre-Castro era, we see how foreigners contributed to the city's prostitution and poverty; this sequence features dreamy, hallucinogenic camera work that creates a feeling of unease and dislocation. Then, in glorious images of palm tress and fertile land, the film looks at the sugar cane fields in the countryside, and the difficulties faced by peasants working the land. Finally, back in the city again, leftist students battle the police and a corrupt government--and pay a high price for their rebellion.

1964 Soviet-Cuban movie directed by Mikhail Kalatozov

A slow and poignant story of love and patience told via a dying mother nursed by her devoted son. The simple narrative is a thread woven among the deeply spiritual images of the countryside and cottage.

In a small, dilapidated village in 1990s Hungary, life has come to a virtual stand-still. The autumn rains have started. A few of the villagers expect to receive a large cash payment that evening, and then plan to leave. Some want to abscond earlier with more than their fair share of the money. However, they hear that the smooth-talking Irimias, who they thought had died, is returning. They are apprehensive that he will take all their money in one of his grandiose schemes to keep the community going.

A 1994 Hungarian art film directed by Béla Tarr

This story takes place in a small town on the Hungarian Plain. In a provincial town, which is surrounded with nothing else but frost. It is bitterly cold weather - without snow. Even in this bewildered cold hundreds of people are standing around the circus trailer, which is put up in the main square, to see - as the outcome of their wait - the chief attraction, the stuffed carcass of a real whale. The people are coming from everywhere. From the neighboring settlings, even from quite far away parts of the country. They are following this clumsy monster as a dumb, faceless, rag-wearing crowd. This strange state of affairs - the appearance of the foreigners, the extreme frost - disturbs the order of the small town. Aambitious personages of the story feel they can take advantage of this situation. The tension growing to the unbearable is brought to explosion by the figure of the Prince, who is pretending facelessness. Even his mere appearance is enough to break loose destructive emotions...

2000 film by Béla Tarr, Ágnes Hranitzky

Russian poet Andrei Gorchakov, accompanied by guide and translator Eugenia's traveling through Italy researching the life of an 18th-century Russian composer. In an ancient town, he meets Domenico, who years earlier had imprisoned his family to save them from the evils of the world. Seeing some truth in Domenico's act, Andrei becomes drawn to him. In a series of dreams, the poet's nostalgia, and his sense of kinship with Domenico become intertwined.

In Madrid, orphan sisters Irene, Ana, and Maite are raised by their austere aunt Paulina and their mute, crippled grandmother after the deaths of their mother and their military father Anselmo. Ana is a melancholic girl, fascinated by death, after watching her mother having a painful death and her father dead in bed.

1976 Spanish film directed by Carlos Saura

In this little Provencal village, a new baker, Aimable, settles down. His wife Aurelie is beautiful and much younger than he. She departs with a shepherd the night after Aimable produces his first breads. Aimable is so afflicted that he can not work anymore. Therefore, the villagers, who initially laughed at his cuckoldry, take the matter very seriously (they want the bread) and organize a plan to find Aurelie and to bring her back to the bakery.

On the brink of WWII, the record-breaking aviator, André Jurieux, safely lands at a small airport crammed with reporters, only to come face-to-face with his worst fear: the object of his desire, Christine, a blonde noblewoman and wife of the affluent Marquis de la Cheyniest, Robert, is not there to greet him. Intent on winning her back, André accepts his friend Octave's invitation for a lavish hunting weekend at the aristocrat's palatial country estate at La Coliniere, among hand-picked guests and the mansion's servants. However, intrigue, rivalries, and human weaknesses threaten to expose royalty and paupers alike. Who will breach first the unwritten rules of the game?

Small town Sweden, in the 1950s. This slice-of-life story is also a coming-of-age tale narrated by a young boy with an almost unconscious sense of irony. His single mother is terminally ill, his older brother isn't the warmest person in his life, and twice he is sent to relatives in a supportive, loving village with interesting characters and adventures.

1985 Swedish film directed by Lasse Hallström

Claude is a Jew. Because of the risks of an arrest (France is occupied by the Nazis), his parents send him away to an elderly couple in the country. Pepe, the husband, is a Petain supporter and a anti-Semite, but he does not know about Claude's religion. The film is the story of their growing mutual affection.

In a rural French village an old man and his only remaining relative cast their covetous eyes on an adjoining vacant property. They need its spring water for growing their flowers, so are dismayed to hear the man who has inherited it is moving in. They block up the spring and watch as their new neighbour tries to keep his crops watered from wells far afield through the hot summer. Though they see his desperate efforts are breaking his health and his wife and daughter's hearts they think only of getting the water.

Bent on finding their anonymous father, a mythical figure tarnished by uncertainty, innocent eleven-year-old Voula and her wide-eyed five-year-old brother Alexandros summon up the courage to run away from home. As the inexperienced companions embark on a long, peril-laden quest to reunite with the long-lost parent in far-off Germany--against the backdrop of bustling railway stations and the grey, rain-soaked winter landscapes of the harsh Greek province--the face of reality, sometimes heart-warming and sometimes utterly appalling, begins to take shape. Now, on their way to the Promised Land, friendly Orestis seems eager to lend a helping hand and offer shelter; however, can the siblings trust him? But the unprotected travellers are running out of luck and hope. Is this journey to the unknown nothing but a wild goose chase?

A 25-year-old male student in Paris becomes indifferent to the world around him, and subsequently feels a strong sense of alienation and hopelessness.

In Ambricourt, an idealistic young Priest (Claude Laydu) arrives to be the local parish priest. He attempts to live a Christ-like life, but his actions are misunderstood. The community of the small town does not accept him, and although having a serious disease in the stomach, the inexperienced and frail priest tries to help the dwellers, and has a situation with the wealthy family of the location.

The director's cut (restored version) opens and closes with theatrical curtains in homage to Georges Méliés films, and is divided into four parts, separated by title cards: I - L'insomnie [a man can't sleep, and reads about vampires until sunrise, when his wife finally wakes up and reveals her true nature]; II - Le cinématographe [unlike 1895, employees leaving the factory, or the office, are a much eventful thing, and finding a sit in a crowded cinema is quite a task]; III - Tant qu'on a la santé [in modern times, everyone suffers of stress, and the psychiatrist most of all other people]; IV - Nous n'irons plus au bois [a week-end hunter, a couple out for a pic-nic, and a farmer setting a wire fence find that a large wood is not large enough to accommodate them all].

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Èva Benoit

Girls in Rage

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Scottish-born American naturalist and author (1838-1914)

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