La posibilidad de experimentar parece ser una constante en Raúl Prado, quien llegó al cine “por casualidad”, según él mismo confiesa, luego de haber estudiado Derecho en la Universidad de La Habana. “Me voy redescubriendo poco a poco”, reconoce con cierto placer este realizador, graduado en 2014 de Dirección de Fotografía, en la Escuela Internacional de Cine y Televisión (EICTV), de San Antonio de los Baños.
Tal deseo de buscar nuevos caminos lo condujo a dirigir el cortometr
aje de ficción Alberto, presentado en la 18va. Muestra Joven ICAIC y merecedor del premio SIGNIS en este certamen, en el que también obtuvo mención en su categoría y el reconocimiento de la Asociación Cubana del Audiovisual.
Acompañado por Eduardo del Llano en el guion, Raúl decidió contar en veintitrés minutos la historia de un hombre que después de haber vivido fuera de la Isla resuelve volver. Y en ese regreso tendrá que enfrentar un secreto familiar guardado por veinte años y las heridas que le hicieron marcharse.
El corto narra una historia real, ¿cómo llegaste a ella?
“Trabajando como fotógrafo en varios documentales. Uno conoce constantemente gente y lugares nuevos. Esta fue una historia que llegó a mí, como muchas otras sobre ese mismo tema, pero fue de las que me rayó. Quería dirigir hace tiempo y esta era una buena oportunidad para hacerlo, porque no es el típico relato de migración, no es algo que se cuente hoy o se divulgue, sino que se intenta dejar a un lado, por eso me pareció importante decirlo”.
¿Te resulta familiar o cercano por algo en particular?
“No específicamente. Soy de una generación que está un poco adaptada a la separación, quizás en ese sentido me puedo identificar… pero no tiene que ser de la familia para sentirlo como casi propio”.
Considero que en la película hay un llamado al perdón, ¿crees que en nuestra sociedad hay heridas que todavía necesitan sanarse?
“Hay muchas heridas. Esta es una pequeña historia, pero hay miles de familias que pasaron por procesos similares. Existieron períodos como el llamado “quinquenio gris”, cuando muchas personas fueron expulsadas de sus centros de trabajo por ser religiosos, gays… Entonces, para que la historia no se repita, hay que estudiarla. Hay quienes todavía tienen esas heridas laceradas, y hablando de ellas se pueden sanar”.
¿Cómo fue el proceso de producción?
“Dirigir fue una experiencia enriquecedora pero extremadamente estresante. El proceso duró alrededor de un año, porque no había dinero y dependía del tiempo libre de algunos amigos. La preproducción fue lo más agotador, porque no estoy acostumbrado. Como fotógrafo llego a un proyecto que ya empezó, aquí todo era nuevo: buscar el dinero, mandar la carpeta…
”De rodaje fueron tres días: dos en Campo Florido y uno en La Habana. Quería filmar en octubre y noviembre, que es cuando hay más nubes. Me interesaba que fuera gris, que no hubiera mucho sol, porque quería mostrar el ocaso de las cosas… pero por atrasos, no pudo ser en esa fecha. Entonces de repente en mayo llegó la tormenta Alberto, que coincidentemente se llamaba como el corto, y dije “esto está enviado”, así que lo voy a utilizar. Y nos fuimos a grabar bajo la lluvia”.
¿Qué te aportó tu experiencia como fotógrafo para asumir la dirección de este proyecto?
“Mucho… saber cómo manejar un set, cómo dosificar la información de la historia, cómo utilizar la estética, y a estimar el trabajo en equipo”.
Valoras mucho el trabajo en equipo…
“De eso van los audiovisuales, de trabajo en equipo. Algo importante es que con todas las personas que trabajé en Alberto lo he estado haciendo desde que me gradué; ya nos conocemos, hay una afinidad, una relación de amistad. Si no hay confianza en tu fotógrafo que es tu ojo y en el sonidista que es tu oído, entonces estás ciego y sordo”.
Después de esta oportunidad dirigiendo, ¿lo seguirías haciendo?
“Ya tengo otro proyecto escrito. Me encantó la experiencia. Es una inquietud que tenía hace rato adentro, era cuestión de tiempo”.
¿Puedes adelantar algo del nuevo proyecto?
“Quiero hablar sobre las clases sociales en Cuba y, particularmente, de los mendigos, pero la historia no será a través de ellos. Sería apenas un vistazo a su vida, muchas veces ignorada”.
¿Cuál es el mayor reto que tienes como joven realizador cubano?
“Como director, buscar el dinero para el próximo corto, algo complicado porque en Cuba no hay fondos que apoyen al cine joven independiente. Eso es fundamental, porque si quieres hacer algo profesional, estéticamente bien hecho y competitivo, necesitas dinero. Y como fotógrafo, tener siempre propuestas de trabajo”.
¿Te ves mañana haciendo cine en Cuba?
“Me veo mañana haciendo cine. Si voy a dirigir, quiero que sean proyectos cubanos, que tengan que ver con la identidad, historia y sociedad cubanas. Como fotógrafo, mis ojos están para ser contratados donde sea. Ω
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