Tommaso Santambrogio’s lyrical triptych, “Oceans Are the Real Continents,” showcases a striking kind of beauty in contemporary Cuban life. The film utilizes black-and-white cinematography to emphasize a precise formalism, offering a perspective on the island that challenges the stereotypical, vibrant image of Cuba often seen in popular culture. This intergenerational exploration of exile and belonging is presented as a sober travelogue, where its poetic sensibilities make it fascinating yet somewhat detached.
The title “Oceans Are the Real Continents” encourages viewers to reconsider their understanding of our world’s geography. Similarly, the documentary doesn’t focus on depicting Cuba through Havana; instead, it is grounded in San Antonio De Los Baños. As seen through Santambrogio’s perspective, this small Cuban town appears as a haunting yet vibrant space that yearns for those who have left, are leaving, or dream of departing. The film weaves together three interconnected narratives (although the word ‘intertwined’ might be more fitting to describe the loose stories that form its foundation). This neorealist-inspired film draws inspiration from a similar style.
Two young lads, Frank Ernesto Lam and Alain Alfonso González (both known as Frank and Alain), harbor big ambitions of making it to the United States someday as professional baseball players. This dream keeps them going during their daytime training sessions and nocturnal visits to deserted ball fields, despite the challenging circumstances at home (marked by family disagreements and frequent rain) that might hamper their aspirations.
In a different scenario, real-life actor and theater teacher Alexander Diego, as well as puppeteer Edith Ybarra Clara, face challenges in maintaining their relationship due to conflicting aspirations and the complexities of everyday life.
Lastly, we find Milagros (Milagros Llanes Martínez), a senior citizen residing by herself, passing her time by peddling peanuts on the sidewalks and taking refuge in the memories of letters penned by a cherished soul within her humble abode.
As I journey through these three vivid images, my goal as a film aficionado is to piece together a mosaic of a nation in flux – a tapestry that showcases the dreams delayed, aspirations thwarted, and longing preserved amidst shifting sands of time. Through Lorenzo Casadio’s lens, we are treated to glimpses of intimate moments, whether nestled within breathtaking natural vistas or gritty urban neighborhoods. Each interaction is framed with meticulous care, as if each shot were a carefully composed photograph destined for a contemporary Cuba coffee table book.
There’s a striking beauty found in ordinary moments, such as Frank and his sibling engaging in playful activities on a balcony after dusk, while their parents are arguing below; or Milagros seated in her patio, waiting for rain-splattered letters to dry on the clothesline; or even Alex and Edith lounging together, wrapped up in one another’s arms, lost in their intimate embrace within the confines of a bed.
Santambrogio created the setting for these characters’ lives, blending it with his mostly amateur performers. This environment is experienced through broadcasts on radio and TV, along with encounters involving visa and travel issues. The possibility that anyone could be thrust into emigration at a moment’s notice is ever-present, lending an air of uncertainty to each scene. It seems as though the daily life in contemporary Cuba cannot be separated from its growing connections to the global community at large.
This film carries a suitable message for an Italian director, as it attempts to portray a realistic image of Cuba that encompasses its future (depicted by promising young boys), past (represented by Milagros, whose letters transport us back to the late 1980s), and internal dynamics (illustrated through a struggling couple). It’s impossible not to see the symbolism inherent in each narrative, and “Oceans Are the Real Continents” can at times feel quite intellectual.
In simpler terms, when Alex guides his children during a workshop to connect with nature – “We’ll create a link between our recollections, our presence, and the actual environment around us” – it seems like he’s expressing Santambrogio’s purpose for his film, which is inspiring and beautifully executed. However, it might also come across as formal and distant (the movie’s most emotional scene revolves around Edith’s puppet). If this cinema is poetry, these are lines meant to be displayed and appreciated, rather than recited or experienced emotionally.
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2025-01-10 04:46