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BOOKS Sr THE CULTURE Inside an Alienated World BY MELISSA SATTLEY 1\\4 iguel Coyula, 27, comes from a generation of emerging Cuban filmmakers who are working out. side of the state-run film industry in Cuba and embracing the low-budget banner of independent filmmaking. The fact that Coyula can work on a meager budget with a digital camera has allowed him to indulge his penchant for surreal backdrops and science fiction narratives, a mere dream in the mainstream world of film in Latin America because of limited financial resources. “You make up for your lack of money with time,” says Coyula, who spent a year filming his latest release, Red Cockroaches, and another year alone editing the film in his apartment. Altogether, it cost a mere $2,000 to produce. The film, which had its U.S. premiere in Austin at the Cine Las Americas film festival this spring, portrays an alienated world where people stay indoors for fear of acid rain and relationships are twisted by genetic manipulation. Shot in a mini DV format, it occasionally suffers from an overly ambitious narrative, but overall is a testament to Coyula’s artistic vision, which has produced a poetic montage of imagery that is captivating and never boring. After the film’s premiere, Coyula sat down with the Texas Observer to talk about the trials of making low-budget movies and the state of cinema today in Cuba. Unfortunately, he may be one of the last Cuban artists to visit the United States for some time since the United States is no longer granting visas for cultural exchange. Texas Observer: How did you end up in New York making Red Cockroaches? Miguel Coyula: I was invited to show one of my films at the Providence Lati no Film Festival, after that I went to visit a friend in New York where I met Anna Strasberg of the Lee Strasberg Theatre Institute. She invited me to a party at her house, which turned out to be a birthday party for the actor Al Pacino. I actually didn’t recognize him because people look different on the screen. I shook his hand and then realized a few minutes later that it was him. Pacino was interested in Cuba’s film industry and how films were distributed there. I always carry a copy of my film, you never know… So I screened my tape right there and Anna Strasberg ended up offering me a scholarship which resulted in the making of Red Cockroaches. The plot about the brother and sister was based on a real story that I heard in Havana, so when I came to New York I adapted it to New York. I think it’s a story that can be told in any country in any culture. I spiced it up with science fiction, surreal elements. TO: The film was shot on a very low budget. Can you talk about how you accomplished so much with so little? MC: Well, I think growing up in Cuba is definitely good training. I mean, I had the camera already \(an old Canon and a couple of lights and that’s it. If you have good friends that will lend you the locations and actors willing to work for free, you can basically do anything, because afterwards in the computer you can create anything you wantbackgrounds, effects, et cetera. Overall [the film] was less than two thousand dollars because I shot the film myself and I edited it myself, so I didn’t have a crew. I was a one-man crew, I was doing the sound also myself and I did the music as well. We were shooting mostly on weekends depending on the availabil ity of the actors, because they had paid jobs during the weekdays so usually on the weekends, Fridays, Saturdays, and Sundays. What I realized here is that making the film is not the problem, but the amount of money you have to put in afterwards, that’s the real budget: Festival, submission fees, transfers, blow-up to 35mm, sound-mix to Dolby, publicists. It’s crazy. TO: Red Cockroaches has a strange unsettling atmosphere to it. How did you create the mood in the film? MC: Well, I did a lot of color correction to achieve the right mood in each scene. Also, with the soundtrack I did a lot of subtle sound design to achieve a mood where you don’t know exactly what is going on. You don’t know what’s going to happen next. That’s my goal. To be escalating, little by little, to the climax at the end. Since I was a kid I have been obsessed by science fiction, and Solaris by Andrei Tarkovsky is my favorite film. In the editing, I didn’t want to cut back to a shot I used before because it gives it a bit of a TV-like feel. Every time I would make a cut, I wanted it to be a new shot. I also alternated sequences that were very short, very fast shots and then sequences that had very long shots. So, in theory it’s a mix between Sergei Eisenstein and Tarkovsky. TO: Is the science fiction genre in film growing in Latin America? MC: No, there is no great movement for science fiction film in Latin America. There have been some cases where somebody does an independent film here or there, but there’s not a movement of science fiction. When you are a filmmaker from Cuba or Latin America people expect it to be a political film, not a science fiction film. Somebody asked me the other day whether Red Cockroaches had something to do with 24 THE TEXAS OBSERVER 7/16 /04