CULTURE

Que un escritor —poeta, ensayista o narrador— se refiera al séptimo arte suele llamar la atención. Quien haya leído sus textos conocidos necesita saber acaso qué dijo, por ejemplo, Carlos Fuentes sobre Vivien Leigh u […]

Carlos Lechuga (1983) es un cineasta inquieto e irreverente. Cuando no se lo achacan a razones extracinematográficas, lo sugieren sus películas. Además de sus cortos Cuca y el pollo (2005) y Los bañistas (2010), ha […]

Nadie con suficiente poder de decisión en los ámbitos de la política y la cultura lo ha tomado en cuenta para otorgarle la Distinción por la Cultura Cubana. Nadie. Y sin embargo, el tenor Rodolfo […]

Un trío musical, compuesto por los miembros de una familia cristiana residente en el poblado artemiseño de Caimito, dan vida a la imagen fotográfica con la que recientemente una joven cubana, María Fernanda Terry Pérez obtuvo el Premio del Concurso Internacional de Fotografía “Cuba es Música”. La familia ha disfrutado intensamente el premio recibido a la foto que los tiene como protagonistas. Y no es para menos. Es una instantánea hermosa, detrás de la cual una profunda página de amor late al ritmo de la fe, la música y la vida.

The Twist (2021) by Martin Owen wants to dissociate himself soon not from the literary reference of Charles Dickens, but from the probable association with what is perhaps the most remembered film adaptation of all time: Oliver! (1968) by Carol Reed. The film entertains very little in its tangled plot. The script is obvious. What really concerns here are the movements on rooftops and esplanades, where Oliver Twist lags behind both the version of 1912 and that of Romans Polański of 2005.

The times that run continue to demand our care. Staying at home seems to be a safe option, and in this recollection, reading is wise company. It is worth taking into account then the recent book by Rafael Acosta de Arriba, Conversations about art, which combines the rigor of the researcher and exegete of art with the generosity of the admirer not only of heterogeneous artists but also of valuable critics. The author returns to generate the debate of ideas through the interview, one of the genres in which he usually moves with mastery and pleasure.

After being expropriated by the Cuban government, the chapel of the University of Villa Nueva was returned to the Catholic Church in 2009. Complicated construction and restoration works have been undertaken since then to give new life to the abused property, mercilessly destroyed by the hand of man and the inclemency of nature for more than half a century. Rael Rodríguez Capote, visual artist, appreciates the invitation to be part of this work. His task consists of restoring the Italian-style arches and making two mosaics: one of the Virgen de la Caridad del Cobre and the other of the Lebanese saint San Charbel. He also assumes the restoration of a Cross and a 1.60 meter high Christ, the high and eternal priest. The dream was to inaugurate the church in July 2020, but the ravages of the covid prevented the realization of what will undoubtedly be “a gift for all Catholics and for the necessary spirituality of the Cuban nation.”

This year, just before this July 2, the date on which we celebrate a new anniversary of the birth of Eliseo Diego, the extensive volume In the shelter of time that devastates me has come out on Sapienza Università Editrice. Eliseo Diego on his centenary (1920-1994), an edition by Mayerín Bello and Stefano Tedeschi. From what is inferred, it is a book that should have come out in 2020, but it is now that it becomes an editorial “event”, since it appears as an important endeavor to study the work of Eliseo Diego. It is now the occasion to appreciate nearby firms; familiar, retouched and other more recent writings that return to the poetry, narrative and essays of this great writer. Twelve texts that achieve a very appreciable harmonic sum in dispositions and judgments.

This year, when we celebrate the bicentennial of the author of The Spleen of Paris, La Folie Baudelaire is one of the most ambitious books …

It is not strange that Cruella de Vil has her movie. The great evil of The 101 Dalmatians (Dodie Smith, 1956) – later popularized by Disney in 1961 – has enough appeal to suppose him and create a before and after on the big screen. Especially a before, a “how her story began.”