Una confusión cotidiana (2007)

Cuba-Reino Unido Ficción

País: Reino Unido

Género: Ficción

Tiempo: 12’

Color: Color

Producción ejecutiva: Arielle Alexandra, Fernanda Danielle, Daniel Herman, Felix Anthony, Isabella Agustina

Productores: Melanie Jones, Pablo Conde, William Hicklin

Dirección: Vladimir Smith (Vladimir Alexander Smith-Mesa)

Cámara: Paolo Witte, Vladimir Alexander Smith-Mesa

Música: “El tiempo, el implacable, el que pasó”, por Pablo Milanés, Luis Eduardo Aute

Edición: Pablo Conde

Edición Online: William Hicklin

Reparto: Jorge Gallardo, Michel Portenier


Inspirado en el relato de Kafka Una confusión cotidiana, y el Requiem, de Mozart, está dedicado a Tomás Gutiérrez Alea y Néstor Almendros, quienes realizaron una versión en la juventud de ambos.

Declaraciones del realizador Vladimir Smith sobre el filme

Filmmakers have been adapting Kafka to the screen for some time and the first film adaptation of Kafka’s literary work is most likely Tomás Gutiérrez Alea (Titón) and Néstor Almendros’s short Cuban film Una confusión cotidiana (An Everyday Confusion, 1950), based on the short story ‘Eine alltägliche Verwirrung’. My film was dedicated to Tomás Gutiérrez Alea and Néstor Almendros ( and to the friendship – that once – existed between them). Una confusión cotidiana (An everyday confusion, 2007) a cinematic essay that I did in those years of my PhD on film studies. A digital film without dialogue, based on the same story that was published posthumously in Beim Bau der Chinesischen Mauer Berlin, 1931- in 1950, Alea and Almendros made a film adaptation of the same short story. Even though the circumstances were hostile to a professional career in cinema, Gutiérrez Alea and Néstor Almendros were determined to become film-makers. They shot their first film together, in 8 mm, silent, a literary work suitable for a low-budget film adaptation. As amateur film-makers, they did not have access to sound equipment, yet the literary story lends itself naturally to the genre of a silent film. The story is based purely on a visual narrative, without dialogue, about two people who look for but never find each other. Professional actors Julio Matas and Vicente Revueltas played the main roles. Gutiérrez Alea recalled that Kafka’s story represented a real challenge, testing his ability to tell a story in motion pictures ‘en el que se jugaba con el absurdo cotidiano’. Gutiérrez Alea found in Kafka a main reference for his films: the absurd. This was a recurrent intention, a way to observe and portray everyday life in Cuba. As the poet Virgilio Piñera has pointed out: ‘si Kafka hubiese nacido en Cuba, en vez de haber sido un escritor del absurdo habría sido un escritor costumbrista.’ For Kafka, according to Piñera, Cuba could have been a natural place for his writings of the absurd. For Néstor Almendros, the film adaptation of Kafka’s story ‘was a very good way of learning how to edit, since the film was made up of a series of entrances and exits from the frame, with parallel action (…) unfortunately the only copy has been lost’. Almendros explains that ‘instead of telling simple stories about the life around us, the daily reality of a tropical island like Cuba, we were grasping at a distant, pale reflection of the artistic world of Europe. We were intellectually colonialised. Luckily, we eventually realised it was a fruitless struggle’. My eternal gratitude to the Museo del Prado for the rights of Bruegel’s painting, to EMI Music & to The Slovak Philharmonic orchestra. and to my family in Britain (Melanie, Pauline and the girls) to my friends, special thanks to my UCL colleagues-students. “Una confusión cotidiana” (2007) used details from a pictorial work by Bruegel the Eldest THE TRIUMPH OF DEATH. I knew about this painting because of Titon, Gutierrez Alea’s personal interest in this work. He always wanted to make a film inspired by this unique painting. In 2007, Bruegel’s painting was ideal to me, in order to protest once again, AGAINST WAR. This time, in the context of the 2007 Iraq War, to refer to USA President George W. Bush’s War. All this motivated to make my first film as a UK student The painting helped me to illustrate, help me to visualise everything that I wanted to say about the Iraq War. Mozart’s Requiem also facilitates me the ideal tempo of the film.

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