Hay un pasaje significativo en Inocencia (Alejandro Gil, 2018) que parece centrarse solo en la reacción de los voluntarios cuando, inconformes, exigen más condenados a muerte. No quieren saber de nombres, sino doblar una cifra dada, porque así se compensa a su grupo. Cuatro estudiantes de Medicina no son suficientes para una pena de muerte que pretende servir de escarmiento.

Volunteers also want to verify that, in truth, they can handle the provisions of the Metropolitan Power in the Cuban neighborhood.Prove that extreme violence is necessary, first of all, a decort to those who implemented the law.Then, it reveals a bewilder.

In today's light, it is not surprising how the members of the Battalion of Volunteers could live after the frightful shooting of the eight medical students, on November 27, 1871, and - it is not forgotten - of the elimination of the five abakúas that,armed, they tried to prevent killing.By the way, this historical complement is integrated into the story narrated of innocence to consummate an admirable sequence.

On the other hand, it hurts to know that there was also a multitude of Cubans that, to congratulate volunteers or for fear of them, booed the students condemned.Gil did not want to complex two opposite sides.National history, as a foreign, remembers that agglomerations are not autonomous and spontaneous, but induced and confused.We are not surprised at this point.

Now, is what happened in 1871 justified by metropolitan indolence?The protest of Canarian Nicolás Estévanez Murphy was no exception.There was no total apathy by the Spanish government.In the background, he did know that the case had gone out of hand.Failure to comply with citizen rights, tried to look good with another party and influential group such as volunteers.In fact, they fueled the homicide, not to honor the memory of Gonzalo Castañón, but to exercise power relations in a context of many separatist or reformist conspirators.They entertained with alleged Creole naivety.

The Chamber on the countenance of the Volunteer Captain - interpreted by Héctor Noas - synthesizes with great success the appearance of doubt for the excess of "What have I caused?"But he could no longer be of what he asked: more blood from the infers.Show this minimal perplexity on your face enriches the characterization of a character protected by historical, which has an impact on her psychology within the fictional plot.

Was the high officer in this way?It is not interested in the purposes of what happened in reality, because we witness a reinterpreted and rebuilt story.Here is the extrafilmic conflict for Alejandro Gil, because he had a responsibility as a researcher and another as an author, as soon as he decided what to expose and how to narrate it.

Strictly speaking, filling lagoons in history is how much Gil's proposal exalts.In this sense, the detail of the fragment of the fence cut at the beginning of the film cannot be more emblematic, when the camera presents a rainy night in a cemetery.There we see - because Fermín Valdés Domínguez (Yasmany Guerrero) and other men exhumanding corpses.Admitting it or not the innocence realization team, that missing iron asks to be supplied by the construction of characters and staging in general.

To fit the above, a fair and open script was necessary, where the idea about the events previous and after the execution would negotiate with the enjoyable, without demeriting the reliable.Gil's purpose is to place ourselves in front of real characters, where it is evidence.

The excellent script by Amílcar Salatti expands the student universe through the center and contours of the colonial cuba.You want to link past with present, through a way of speaking in which it articulates well, while kindness protects a more recent socialization.It doesn't matter if heroes or martyrs, Spanish or Cubans, victims or perpetrators, minor figures or representative men, are not spatial beings who lived in the 19th century.That with costumes and makeup, lighting and color, scenery and atmosphere, the time is shown.

How to Gather Audit Evidence https: // t.co/xyi4OEDJTN https: // t.CO/PAEMPMVW9U

— Selvyn Kennedy Mon Apr 15 16:05:31 +0000 2019

The events of November 27, 1871, like others that occurred in Cuba, can be exhibited on the big screen (and even in the little girl) because the stories and controversial characters ant.But we fear on the dark side of our great historical figures and dodged - Salvo Alberto Yarini or the literary Juan Quin Quín - the wealth of our Creole antiheroes, like the redeemed Manuel García.

Why don't Cuban cinema make biopics about athletes, for example?Considering Capablanca (Manuel Herrera, 1987) and to the Peloteros de en Tres y Dos (Rolando Díaz, 1985) and Plaff (Juan Carlos Tabío, 1990), The Pugilistas of El Espitor (Pavel Giroud, 2015) and Dancing with Margot (ArturoSantana, 2015), as well as other no less unique athletes in cartoons, fiction has been very little or almost nothing in the hero or athlete heroin.Reasons?The conception of outstanding figures that motivate political and social changes do not usually associate with the playful, but the ceremonious and martial.

Heroicity in the cinema belonged for many years to Mambises and rebels, when not to qualified workers.Today, when other figures emerge, away from a single and unique daring modality, we turn to history to entertain the fallen heroes who reaped several victories.More than for generosity towards our men and women of the past, the position must be brave as risky in the artistic, without this means to deny the historical.There are several examples that prove suggestive treatments on heroes and exploits.

The estimated in innocence has not been to reproduce from the known a group murder of unquestionable political significance.Rather, achievement has consisted of humanizing victims referred to books and history classes to approach them to current affection.With the currency that it does not move what has not first sympathized, Alejandro Gil delivers a collective portrait from the particularity of each of these young people, who were, where they could, more apprentices of life than of medicine.They were in professional training and began to live.That they will spoil them with cruelty, they are not made by national or any kind: they had no opportunities to stand out.

Did they host patriotic ideals?Of course, even being children of Spaniards.Hero was Captain Federico Capdevila, because he defended them;Valdés Domínguez, because before investigating and writing about them to rescue them from oblivion, he sought and found his remains.Heroes were the Abekúa Habaneros, lynched on November 27, 1871.

If we put aside the moments of historical review and patriotic instance where it is sung - on a second time better than the first, for the benefit of parallel assembly - "La Bayamesa", innocence highlights for its photographic result, which alternates between the shadow interiorsAnd that ocher tone that does not prevent the force of light in the city and rural of Havana Day.

The work with the interpreters has been careful, from the special performances (Alejandro Palomino, Patricio Wood, Edwin Fernández, Osvaldo Doimeadios, Samuel Claxton, Roque Moreno, Manolín Álvarez, Omar Alí ...) to which they support and accelerate the conflict, such as theHéctor Noas volunteer, through those who mediate, such as Dionisio López Roberts (political governor) of Yadier Fernández, Manuel Araujo de Ray Cruz or Claudio Suárez by Jorge Enrique Caballero.

Capdevila de Caleb Casas has seemed to some spectators a mistake due to the tone of their rhetoric.But, if we consider the terminology and inflection with which lawyers in the trials have been manifested for years, we are not surprised that, in the nineteenth century, the interventions were even more rehearsed and, therefore, ampulous.As for the Fermín de Yasmany Guerrero, he persuads like Alonso Álvarez de la Campa by Carlos Alberto Busto.But, from the beginning, the spectator identifies with the love relationship starring Anacleto Bermúdez (Luis Manuel Álvarez) and Lola (Claudia Tomás), or copes the anguish of Mr. González, by Fernando Hechavarría.

Innocence represents a very honest dialogue with national history.Beyond the thematic attachment, Alejandro Gil has moved away cautiously to offer us a disturbing epochal and human record.(2019)