0:07

some free Cuba was produced by the

0:11

National Film Board and I it was my

0:14

first film in this country it was an

0:17

amazing experience for me to work with

0:18

in a professional context with such a

0:22

nice group of professionals before the

0:27

wars is different a different role it

0:29

was produced last year is an independent

0:32

film it was my second experience

0:34

directing in Canada a very different

0:37

story from the first one but yeah I hope

0:41

you enjoyed hello everyone thank you for

0:49

coming my name is Rodrigo and my film

0:52

was for thorium it was the first film

0:55

that you saw tonight it’s so weird to

0:58

see it because it’s it was made almost

1:00

three years ago and it was my thesis

1:02

film when I was a rising University I

1:05

graduated from rice and film school and

1:09

it was a film that I did when I was in

1:11

my last year it was a very special film

1:14

for me because it was the first time

1:15

that i did a narrative filmmaking a

1:20

fictional narrative and bass you can see

1:23

a subject matter is quite sensitive so

1:25

it was a very beautiful project when it

1:27

comes to the research that we had to do

1:30

on the amount of people that we met so

1:33

yeah quite pleased that i could show you

1:34

tonight to all of you thank

1:44

she seemed a gaseous landed SEO night

1:49

Hetty well I’m gonna believe glad cafe

1:53

percentile Concordia University

1:55

University por parte de ver SI circuit

1:58

to it lava handle I apologize people and

2:05

for my translation Tostan something that

2:06

I do the things the festival for the

2:10

opportunity of being here tonight he

2:12

this film was part of the exercises that

2:16

he had to do when he was in Concordia

2:18

University in Montreal yeah jajaja que

2:21

unos imaginative Chiodos Angus

2:23

acquainted cincuenta say cincuenta x ESO

2:26

una familia quan hai class Amelia hey

2:29

this is a archival footage on he brought

2:31

from Cuba and it was shot in the 1950s

2:34

nineteen fifty six hundred fifty-seven

2:36

fifty-eight o que é o que é and sort of

2:46

party and famous only man in a KO film

2:48

and kuba en la CI Quebec the rest of the

2:51

film is composed by images are he shot

2:53

in Cuba and in the city of Quebec e

2:56

depois they don’t laboratory on kino

3:00

mafias ok Sarah pelicula after a

3:04

workshop at three day workshop that he

3:05

didn’t kill Amara he finally managed to

3:09

make this film but it’s a healthy today

3:11

employs a CO and this is why the film is

3:13

call improvisation but enter when I

3:15

heard Cesar pediment aziem so it is an

3:18

exercise of improvisational and

3:19

improvisational exercise done the new

3:23

head yo fundamental atomatic el viaje y

3:26

la meta meta for albi ahi al mismo

3:29

tiempo el movimiento idea in my head SP

3:32

solace its primary focus or object was

3:36

the metaphor that a surrounds traveling

3:41

mentally my anything solid and also

3:43

concert surrounding a movement of the

3:47

images whenever she met her he better

3:51

got a helluva leagues thank you very

3:53

much i hope you liked it

3:59

hi everyone my name is Jen I and I made

4:04

meaningful things as an exercise for my

4:08

editing class in Toronto Film School

4:11

message if there are questions from the

4:19

audience I just witness a wonderful

4:22

moment is generally when you work with

4:24

filmmakers and they present their work I

4:26

have been able to translate them

4:28

throughout our presentations but this is

4:31

just fantastic yeah we were working a

4:44

very tight deadline because I mean when

4:47

you go into the real world you can allow

4:49

yourself all the time that you have

4:50

because but when you are a student you

4:54

have one school year to make this film

4:56

and it has to happen and if it doesn’t

4:58

happen you don’t graduate and you fail

4:59

and you have to go back to square one so

5:02

it was a very organic process the actual

5:06

film making itself was only three weeks

5:08

of pre-production a week of production

5:11

and about two months of post-production

5:12

but the actual work that took to get to

5:16

the filming was about seven months so it

5:19

was seven months of me meeting with

5:22

teenagers with Down syndrome parents of

5:24

teenagers with Down syndrome doctors and

5:27

writing draft at after draft after draft

5:30

and giving it to people who i was

5:33

involved with the dancing new community

5:35

and kind of filtering the film and at

5:37

some point i had to let it go because

5:38

many of them would say oh this is

5:41

something that my brother would dancing

5:42

them would totally do and then someone

5:44

else who come along and say my brother

5:46

would never ever go near a stove thank

5:49

you and at some point I had to

5:51

understand that there is a different

5:54

spectrums of disability and as long as a

5:58

couple of people gave me the green light

6:00

so that whole process took about six

6:02

than a month but the filmmaking itself

6:04

was very short

6:06

I think condition of Cuban dance pouring

6:09

filmmaking especially of our generation

6:11

as I call it that postal thousand

6:13

generation when I was confronted with

6:15

Rodriguez film for the first time I had

6:18

already done some research and I had

6:20

found it kind of filmmaking among young

6:24

people who lived off the island who was

6:26

in many ways looking back at home so

6:31

that’s why the project is called brutes

6:32

that tires to the to a place and roots

6:35

are utes those paths new paths that we

6:39

track as desperate subjects in new

6:41

places and so be a Ford orient I said

6:44

where is Cuba there right and give the

6:48

art and that’s the only because the the

6:50

they are direction it’s a there are many

6:54

are pieces that are by Cuban artists but

6:58

if you don’t know Cuban art then how do

7:00

you connect that there’s no direct link

7:02

to the island right and there’s no

7:05

direct link to Canada except for the

7:07

weather report you know that Toronto

7:08

will be cold and Saskatchewan is

7:10

freezing there but really there is no

7:13

linked to link to a place and I realize

7:16

okay then should that stream be as part

7:19

of be part of this festival and I said

7:22

yes why not right rodeo I remember when

7:25

I interviewed him for the first time he

7:26

said I I don’t want to be known as a

7:29

Cuban filmmaker so much because

7:31

nationality is a burden and everyone

7:33

right national stays kind of

7:35

constrictors we cannot ignore them but

7:37

there are also filmmakers engaging in

7:39

more global a form of him making he said

7:42

I want to be a concerned filmmaker not

7:45

really not necessarily a Cuban so here

7:47

in this in what you just saw I think you

7:50

see some links to the homeland but also

7:52

you see filmmakers that just are

7:54

creating they are from Cuba but we don’t

7:58

have secure a turd I didn’t want to be

7:59

obsessed with the idea of trying to find

8:01

Cuba in those works right it’s part of

8:04

what we are on that is also Cuba and new

8:06

Cuba diaspora cube of our generation I

8:09

don’t want to put word out words on the

8:13

other filmmakers but I am concerned

8:16

about storytelling and not so much from

8:18

the actual play

8:19

where I come from I think a the

8:22

necessity of telling stories and innate

8:25

need of human beings nor Cuban human

8:28

beings having said that I am very proud

8:31

of where I come from and but again it

8:34

always comes back to the idea that i

8:35

have the moment and how it makes more

8:37

sense who executed my things was for

8:40

Dorian and my next film is about an

8:42

American Hungarian photographer lives in

8:45

New York and my next film is about a

8:48

Russian literature professor who lives

8:52

in Cuba and deals with the aftermath of

8:55

the Chernobyl disaster so it’s ideas are

8:57

brought to me ideas said um I come up

9:01

with you know the Cuban film was it’s an

9:06

original idea of my brother who’s also a

9:07

filmmaker and he brought it to me and I

9:10

was very excited to collaborate with him

9:11

for the film and he will be the first

9:13

time that I true in Cuba and his

9:16

achievements of the matter again it’s

9:18

something that comes organic and it

9:20

happens when it happens well in my case

9:23

I think song for Cuba was a film that I

9:26

02 to myself in first place and I die Oh

9:29

to Cuba and that I wanted to use to

9:32

express and put out in order to keep

9:34

went with my career and with whatever

9:37

focus i’ll put in my art is from now on

9:39

that i live in canada before the war in

9:43

the other hand it’s a film that

9:44

apparently has nothing to do with Cuba

9:46

and I think the reason the reason is

9:48

because the stories they morph and feel

9:51

me something that you do with a group of

9:53

people and everybody in this group will

9:56

will bring something from their own

9:58

background and before the war was in

10:01

fact imagine for the first time when I

10:05

arrived to Newfoundland and realized

10:07

that the it was a beautiful place that I

10:09

couldn’t enjoy because it was to call

10:10

and indeed remind me of some people that

10:14

are so beautiful but at the same time

10:15

it’s so hard to love so that’s it that’s

10:18

how the place inspired their own story

10:20

and it could be a story that it could be

10:21

placed any words the worst nameless but

10:25

the fact that I I did it in Cuba and I

10:28

did it with people from different

10:30

backgrounds I think that that

10:33

I said look like an ngon Cuba you know

10:37

kind of work when it is and I’m punto de

10:43

batalla que hace own hacer

10:45

cinematographic a muchas veces y como

10:47

como polymer a micasa pomona who may del

10:52

sentimiento know the sentimental in

10:54

Kentucky that reduces I how and why we

10:58

sweated for my creative point of view

11:00

there is always that sense of emotions I

11:05

collide and he ain’t Acacio you and your

11:12

google co ma sista castle I in this case

11:15

I had just arrived from Cuba three

11:17

months prior ela sentimiento que uno

11:21

tiene some typical dejalo algo he the

11:26

villains that I had with the usual

11:27

feelings of having left something behind

11:29

he killed guna manera inconsciente men

11:33

take on sentiment a loja propia e

11:35

intenta crear a visual mental enema in a

11:39

home o night Orion and somehow things

11:41

are we consciously or unconsciously

11:44

appropriate and kind of come to

11:48

integrate who we are and we try to use

11:50

up in a way that create a story it’s a

11:53

family curse on this my case Ian tone

11:56

set for the said care que alguna manera

11:58

and muchas veces en la pelicula avacyn

12:02

no lo llaman entender que es por que

12:05

sentí por cual sentimientos elemento de

12:08

matica con sexually about how honda know

12:11

and this is why somehow in the film I

12:13

wasn’t quite sure about the conceptual

12:16

themes that I was dealing with petting a

12:18

Turkish oh yeah but you made acquainted

12:20

era el hecho de hacer una pelicula and

12:24

implies a concealed in this case I

12:27

realized that it was about making a film

12:29

in a country that was my own Empire to

12:31

the mentor conoci a completely unknown

12:33

landscape own language a connoisseur of

12:36

an unknown language e ESO lo que una

12:40

provoca uno my own particular mental ofl

12:44

okay he’s okay my que provoca

12:46

that’s it it’s a mi tampoco melancholic

12:49

ax this is what triggers that I wanted

12:52

to use these melancholic images and yoga

12:55

has a hella check in the the decollete I

12:58

waneta by a transition this is it is a

13:01

factor we I am in a transitional state

13:04

policy on immigration matters you know

13:08

the loser una manera de sentimientos

13:10

tanto de Lima and somehow feelings get

13:13

translated into images Jebel Kahuna her

13:15

CC oh interesante TCO and whoever this

13:18

is a muy interesante but i also know

13:20

yoga phone i’ll make very interesting

13:24

exercise for a filmmaker alleged the boy

13:28

comes to Edo and imagenes en sonido al

13:32

una pelicula uncle to meet ahi fuera su

13:35

país to be able to construct a film

13:38

images and sound outside the round

13:40

country yoga guru net / NC a–

13:43

importante en tu que sera para para

13:47

cualquier senior tech LOL intent i think

13:50

it’s an important an enriching

13:51

experience for any filmmaker and i

13:53

recommend that anyone who can price it

13:55

buenoooo no entiendo de juego que que

13:59

que se lo lo lo mande pero SI alguna

14:03

manera de una carga mucho mas fuerte no

14:07

mi casa personal and myself especially

14:09

coming from Cuban it’s not it’s beyond

14:12

this Wooper in my case I did feel that I

14:15

had an emotional connotation SI alguna

14:19

manera lo que otra luz en la hema

14:21

anything is so nearly demi khatta meetha

14:23

this is why this is what i translated

14:25

into the images on the sound of my short

14:27

film single be a Kahuna pediment the

14:29

same Demi we now are forgetting that it

14:32

is an experimentation thank you

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