Rocha que Voa

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"ST0NES IN THE SKY"

...during the 60's...

in the cultural colonization,

the cultural underdevelopment...

But, in fact,

Latin American intellectuals...

are still colonized because

they keep...

obeying to the colonizing

bourgeoisie...

as their own action instrument.

They weren't able to be revolutionary

in face of the colonizing action...

and that was clear through

a colonizing language.

Not because they learned

to read French and English...

they learned the European

and American thinking...

that they applied this thinking

to study their own reality...

they were in contradiction,

paralyzed.

Because there wasn't a political

practice, because there wasn't...

a social and political revolution,

they couldn't envisin...

a new language

nor detach themselves...

from all this rationality

by the bourgeois culture.

...broadcast from America...

HAVANA - CUBA

from Havana, Cuba...

the first free territory

in America.

...of America...

Let's raise our heads...

because there is a lot

we must fight for...

a lot to do!

S0ME DAY IN N0VEMBER 1971

...free in America...

Latin American cinema...

reflects the Latin American

political situation.

The first two main Latin American

movements were:

Cuban cinema, which emerged

with the revolution...

and Brazilian Cinema Novo,

which came after Cuban cinema...

in 1962, 1963.

Working under different

conditions...

because Cuba is a socialist country

and Brazil is a capitalist country...

but these two cinemas related

in several aspects.

They had cultural independency...

from the imperialist system,

dealing...

directly with the social,

political and cultural problems...

in Latin America.

Also because...

they faced the same problems to gain

the market controlled by imperialism...

technical deficiency problems...

caused by technical

underdevelopment.

Both have problems,

but they are very organized.

A spontaneous organization,

because Latin American filmmakers...

are very united,

although with few differences...

aesthetical and ideological ones...

as to the situation of each country,

but they are united...

in the common ideal

to conquer...

Latin American market and free it

from the American occupation.

And this is related to the economical

liberation of the peoples...

and the substitution

of the imperialist language...

of the colonizer,

for a new language...

of Latin American cinema.

In the early 70's...

Cuba was diplomatically

isolated as a country.

But at the same time that

Cuba suffered...

these sanctions,

the country started to receive...

personalities from

the Latin American culture.

A Brazilian filmmaker,

Glauber Rocha...

To Latin Americans

it means that...

except for Cinema Novo,

which is extinct...

because it's filmmakers

are either in Brazil...

or out of Brazil,

secretly trying...

to keep fighting both

politically and in films...

and wanting this victory.

So, Latin American cinema...

will be in a few years,

a new phenomenon...

and a very important one,

politically speaking...

because it will be the first

cultural movement...

The first art movement

to unify culture and politics...

...in Latin America.

- Cinema?

Cinema.

As an artist,

he was a revolutionary...

CUBAN FILMMAKERS Because he

innovated the cinema language.

And he also was...

an essential revolutionary.

Glauber started his Cuban phase

just like one of us.

And his name was growing,

and Cuban cinema was surfacing.

"LATIN AMERICAN NEWSPAPER

ICAIC"

And we, from the start...

set our destiny together

with that of Latin America.

That is, we set our destiny...

more with Latin American cinema

than with socialist cinema.

Cuba, that is, Cuban cinema...

was the foundation...

of Latin American cinema,

economically speaking.

Latin American filmmakers

didn't have any money or support.

So, what they did was

they brought the film...

and edited it here,

because we had a lab...

a sound studio and so on.

All the post-production was done here.

NATl0NAL AND INTERNATl0NAL NEWS

It was like...

brothers helping each other.

And some of our films...

seem to have been influenced

by Cinema Novo.

They had a similar attitude...

You're asking me why I make films?

As a matter of fact, I make films

because of imperialism.

If there was no imperialism,

I wouldn't make films.

We weren't fighting just

to conquer socialism...

we were fighting

to conquer a system...

that was more independent from

the interests of the United States...

was it capitalist or socialist...

but what we really

wanted to achieve...

was the true independency

of our continent.

Stories of the revolution...

from which we have an epopee

of a whole people...

in the final days of the fight

against the long nights of pain.

Since the start

we were conscious...

that we couldn't compete

with a cinema...

that had all the resources

in the worid.

And we didn't have that.

We just had a very rich reality.

I have no problem with your business,

but we're trying to work...

We hoped we had enough creativity

and essential elements...

to make films that

were interesting...

and that were

in a different level...

...of the American cinema.

- It's hard to get him out of there!

I don't want anything with you!

So get lost! Get lost!

Don't make me lose my temper!

...nor the buses parked

here on the street. Nothing.

In 1968, Cuban cinema

was out in the worid.

It was discovered in many places.

There is a prestige,

a history and a tradition...

that I think we owe it

basically to documentaries.

IF:

THE BLACKS:

H0W? THE BLACKS? The disintegration

of American imperialism.

The vanguard rebellion,

the total revolution.

The political revolution,

the human revolution.

The Third Word revolution.

We all, in a certain way,

came from Italian neorealism...

thanks to the strength that,

in the 40's and 50's...

neorealism had in cinema

woridwide, specially...

in Latin America.

I think that, in that time...

we were looking...

our own authenticity,

our own way...

to express our feelings...

our thoughts and our reality.

Glauber filmed

"Black God, White Devil" in 1964.

That meant he was ahead of us...

in regard to...

to Italian neorealism.

And I can remember...

Glauber as one of the first

to exteriorize...

his disavowal and make

a moral contribution.

To meet Glauber was like...

to see the light

at the end of the tunnel.

He was a pioneer.

He was a storm, a cyclone.

He theorized, because it was not

just his films...

it was also his sense of aesthetics.

The "aesthetics of hunger" moved...

many filmmakers

and really contributed...

so that we saw cinema

in a more objective way...

in face of the

Latin American needs.

And Glauber was the one

who did that, in my opinion.

He was very important.

It was a wave of feelings...

and affirmation...

of the authenticity, of the

authenticity of each country...

of the authenticity

of each country's culture.

Each was looking

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