{"id":13597,"date":"2017-12-13T18:56:01","date_gmt":"2017-12-13T16:56:01","guid":{"rendered":"http:\/\/leregardlibre.com\/?p=13597"},"modified":"2025-12-04T23:01:08","modified_gmt":"2025-12-04T22:01:08","slug":"fernando-perezs-last-days-in-havana","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/cinema\/films\/derniers-jours-a-la-havane-de-fernando-perez\/","title":{"rendered":"\u00abLast days in Havana\u00bb by Fernando P\u00e9rez"},"content":{"rendered":"<p class=\"wp-block-paragraph\"><em>Cinema Wednesdays - <a href=\"https:\/\/leregardlibre.com\/en\/tag\/alexandre-walti\/\">Alexandre W\u00e4lti<\/a><\/em><\/p>\n\n\n\n<p class=\"has-drop-cap wp-block-paragraph\"><strong>The great thing about Passion Cin\u00e9ma's cycles is that viewers rarely leave a screening disappointed. It's a good thing they exist, especially at the end of the year. They counter the invasion of <em>blockbusters<\/em> with their share of sensationalism and explosions, so far from the finesse of <em>Last days in Havana<\/em> by Cuban director Fernando P\u00e9rez.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Right from the opening scene, the succession of close-ups imposes a certain kind of cinema: intimate and profound. The camera follows the facial expressions of Miguel (Patricio Wood, tortured) as he washes dishes in an uneventful restaurant. He goes out, crosses the streets of Havana. Fernando P\u00e9rez films him as if in a documentary, moving him through the city's urban chaos with total indifference.<\/p>\n\n\n\n<!--more-->\n\n\n\n<p class=\"wp-block-paragraph\">Il entre ensuite dans un b\u00e2timent communautaire aux murs d\u00e9cr\u00e9pits, croise un coiffeur dans le hall d\u2019entr\u00e9e, un livreur d\u2019\u0153ufs dans les escaliers, une femme qui chante (Yailene Sierra, d\u00e9sesp\u00e9r\u00e9e) au premier \u00e9tage et Fefa (Carmen Solar, bienveillante), l\u2019afro-cubaine vaudouisante, la voisine. Il est soudain dans la cuisine d\u2019un deux pi\u00e8ces et s\u2019occupe de son ami mourant. Il partage l\u2019appartement avec Diego (Jorge Mart\u00ednez, brillant), l&rsquo;homosexuel mourant. Autant dire que ce n\u2019est pas la meilleure condition dans un pays encore tr\u00e8s machiste, comme le laisse deviner le propos du film. Le tout s\u2019encha\u00eene par des s\u00e9quences o\u00f9 les premiers plans comprennent toujours un ou plusieurs \u00e9l\u00e9ments qui donnent de la profondeur \u00e0 l\u2019image. Le cadre est pos\u00e9, les personnages banals grandissent au fil des questions que le film pose.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">A story of friendship and new strengths<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The opening of <em>Last days in Havana<\/em>, Like the opening lines of a novel, the film contains Fernando P\u00e9rez's sharp eye for his country. What happens next? Cuba and its various social issues gradually enter the apartment, thanks to the many characters, and ease the confinement in which Diego and Miguel find themselves. This confinement then becomes the place of greatest freedom. The sick man, bedridden throughout the film, is more alive than his sane friend. What are they doing together? Why does Miguel look after Diego? What is he suffering from? All these questions come to the fore as the days tick by explicitly on screen, like a visual diary.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When young Yusi (Gabriela Ramos, deeply moving), a runaway, enters the story through Diego's bedroom closet, the tornado of Cuban youth finds its voice. A character all the more endearing for having no filters; his thoughts come out without room for reflection or censorship. Insolent, touching and fragile. She brings a smile and color to the face of Uncle Diego, increasingly weakened by illness. The young actress Gabriela Ramos is strikingly photogenic. She literally sucks up all the attention.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">A subtle portraitist<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">One sentence perhaps sums it up <em>Last days in Havana<\/em>detail is at the center of Fernando P\u00e9rez's gaze, and everything else is in the actors. The director films them as closely as possible. As when he stops on the movement of their hands, or follows Miguel's walk with the camera shooting over the character's shoulders. Diego heals by dying. Miguel dies living a distant dream. That's another way of saying the film in a few words.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It's a cinema at times almost physical, immersed in a social reality that the Cuban director knows and depicts with precision, even leaving an important place for the voice of the street. Not least through the message of graffiti, which always appears at a pivotal moment in the plot. Libert\u00ab, whose ending is cut off by the aged pole of a Havana building, is the best example.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fernando P\u00e9rez immortalizes a moving photograph of Havana. A snapshot of stories. Like the photographer who takes a snapshot that says so much more than just an image.  And what about the film's epilogue? Masterful.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Write to the author: <a href=\"mailto:alexandrewaelti@gmail.com\">alexandrewaelti@gmail.com<\/a><\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Photo credit: \u00a9 cinergy.ch<\/p>","protected":false},"excerpt":{"rendered":"<p>A subtle portraitist<\/p>","protected":false},"author":335,"featured_media":13599,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[84223,16719,22740770,455581,4578727,45553,63216],"class_list":["post-13597","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-amitie","tag-cuba","tag-gabriela-ramos","tag-homosexualite","tag-jorge-martinez","tag-liberte","tag-miguel"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v28.5 (Yoast SEO v28.5) - 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