Cinematographic projections, varied concerts, inauguration of exhibitions of visual arts, talks and theoretical exchanges, have characterized the initial days of the XV International Film Festival of Gibara, a sea of arts that overflows this city from July 7 to 13.
With the projection of Salut les Cubains (1963) and Visages Villages (Faces and places) of 2017, one of his last productions, co-directed with the French photographer JR, the Festival recognized the global importance of Agnés Varda, whose work has deserved important prizes, like the Golden Lion of the Venice Festival, and the honorary César, Palme d'Honneur and the honorary Oscar. This last documentary, a kind of road-movie where Agnes and JR go through villages in the French countryside in search of stories and characters that JR interprets in giantographic pieces later pasted on different architectural surfaces, deserved The Golden Eye at the Cannes Film Festival in 2017, among other important awards at the festivals of Toronto and Vancouver. Agnés Varda (1928-2019) is called by many the grandmother of the French nouvelle vague (new wave), a movement linked to such important filmmakers as Jean-Luc Godard, Claude Chabrol, Alain Resnais, Eric Rohmer, Jacques Rivette and François Truffaut, among others, and films like The 400 hits, Hiroshima mon amour, Jules and Jim, Cleo from 5 to 7, My night with Maud and stolen kisses.
For its part, the House of Culture began the theoretical sessions with the panel Cuban Cinema, challenges of the XXI, moderated by the renowned director Fernando Pérez and integrated by the producer Claudia Calviño and the filmmakers Kiki Álvarez, Eduardo del Llano, Carlos Lechuga, Vladimir García and Reymel Delgado. Decree 373 that governs, after exchanges with Cuban filmmakers, a new policy for independent filmmaking, whose laws will come into effect next September, focused a large part of the interventions on the panel, in which Fernando Pérez left the need for "an Icaic that continues to be an institute of art and industry, that supports the free projection of all films, so that the viewer can choose".
For Kiki Álvarez, the practice and interpretation of the Decree is important, but it is more necessary to "continue making films". "The filmmakers must dream about the working conditions we need," added the director of films such as La ola, Miradas y Marina, filmed the latter in Gibara.
"I see the Decree as something to continue working on. The position we must have now is how to improve, enriching it", said the young and renowned producer Claudia Calviño.
The Ordoño Hotel was inaugurated the photographic exhibition 25/50, a tour of the artistic work of Cirenaica Moreira, one of the most recognized exponents of the visual arts in Cuba.
In addition, on the walls of the central street Independencia, the giantographic exhibitions Vida, by Gabriel Guerra Bianchini, and 300 reasons, by the Canadian photographer Heidi Hollinger, were opened to the public.
On the cover: Image of the exhibition of Cirenaica Moreira