Book contents
- Frontmatter
- Contents
- Plates
- Prologue: Companion to Latin American Film
- Dedication
- Introduction to Latin American Film
- 1 ¡Qué Viva México! (Long Live Mexico, 1931), Directed by Sergei Eisenstein
- 2 Los Olvidados (The Young and the Damned, 1950), Directed by Luis Buñuel
- 3 Dos Tipos de Cuidado (Two Types of Care, 1952), Directed by Ismael Rodríguez
- 4 Orfeu Negro (Black Orpheus, 1959), Directed by Marcel Camus
- 5 Memorias Del Subdesarrollo (Memories of Underdevelopment, 1968), Directed by Tomás Gutiérrez Alea
- 6 Lucía (1968), Directed by Humberto Solás
- 7 El Chacal de Nahueltoro (The Jackal of Nahueltoro, 1969), Directed by Miguel Littín
- 8 Yawar Mallku: La Sangre Del Cóndor (The Blood of the Condor, 1969), Directed by Jorge Sanjinés
- 9 La Batalla de Chile (The Battle of Chile, 1975–1979), Directed by Patricio Guzmán
- 10 La Última Cena (The Last Supper, 1977), Directed by Tomás Gutiérrez Alea
- 11 Pixote: A Lei Do Mais Fraco (Pixote: The Law of the Weakest, 1980), Directed by Héctor Babenco
- 12 El Norte (The North, 1983), Directed by Gregory Nava
- 13 Camila (1984), Directed by María Luisa Bemberg
- 14 La Historia Oficial (The Official Version, 1984), Directed by Luis Puenzo
- 15 Cartas Del Parque (Letters in the Park, 1989), Co-Directed by Tomás Gutiérrez Alea and Gabriel García Márquez
- 16 La Tarea (Homework, 1989), Directed by Jaime Humberto Hermosillo
- 17 Yo, La Peor de Todas (I, the Worst of all, 1990), Directed by María Luisa Bemberg
- 18 La Frontera (The Frontier, 1991), Directed by Ricardo Larraín
- 19 El Viaje (1991) the Voyage, Directed by Fernando Solanas
- 20 Fresa Y Chocolate (Strawberry and Chocolate, 1993), Directed by Tomás Gutiérrez Alea
- 21 Como Agua Para Chocolate (Like Water for Chocolate, 1993), Directed by Alfonso Arau, Based on the Novel of the Same Name by Laura Esquivel
- 22 Central do Brasil (Central Station, 1998), Directed by Walter Salles
- 23 Amores Perros (Love’s a Bitch, 2000), Directed by Alejandro González Iñárritu
- 24 Y Tu Mamá También (and Your Mother Too, 2001), Directed by Alfonso Cuarón
- 25 Cidade de Deus (City of God, 2002), Directed by Fernando Meirelles
- Guide to Further Reading
- Glossary
- Select Bibliography
- Index
20 - Fresa Y Chocolate (Strawberry and Chocolate, 1993), Directed by Tomás Gutiérrez Alea
Published online by Cambridge University Press: 05 May 2023
- Frontmatter
- Contents
- Plates
- Prologue: Companion to Latin American Film
- Dedication
- Introduction to Latin American Film
- 1 ¡Qué Viva México! (Long Live Mexico, 1931), Directed by Sergei Eisenstein
- 2 Los Olvidados (The Young and the Damned, 1950), Directed by Luis Buñuel
- 3 Dos Tipos de Cuidado (Two Types of Care, 1952), Directed by Ismael Rodríguez
- 4 Orfeu Negro (Black Orpheus, 1959), Directed by Marcel Camus
- 5 Memorias Del Subdesarrollo (Memories of Underdevelopment, 1968), Directed by Tomás Gutiérrez Alea
- 6 Lucía (1968), Directed by Humberto Solás
- 7 El Chacal de Nahueltoro (The Jackal of Nahueltoro, 1969), Directed by Miguel Littín
- 8 Yawar Mallku: La Sangre Del Cóndor (The Blood of the Condor, 1969), Directed by Jorge Sanjinés
- 9 La Batalla de Chile (The Battle of Chile, 1975–1979), Directed by Patricio Guzmán
- 10 La Última Cena (The Last Supper, 1977), Directed by Tomás Gutiérrez Alea
- 11 Pixote: A Lei Do Mais Fraco (Pixote: The Law of the Weakest, 1980), Directed by Héctor Babenco
- 12 El Norte (The North, 1983), Directed by Gregory Nava
- 13 Camila (1984), Directed by María Luisa Bemberg
- 14 La Historia Oficial (The Official Version, 1984), Directed by Luis Puenzo
- 15 Cartas Del Parque (Letters in the Park, 1989), Co-Directed by Tomás Gutiérrez Alea and Gabriel García Márquez
- 16 La Tarea (Homework, 1989), Directed by Jaime Humberto Hermosillo
- 17 Yo, La Peor de Todas (I, the Worst of all, 1990), Directed by María Luisa Bemberg
- 18 La Frontera (The Frontier, 1991), Directed by Ricardo Larraín
- 19 El Viaje (1991) the Voyage, Directed by Fernando Solanas
- 20 Fresa Y Chocolate (Strawberry and Chocolate, 1993), Directed by Tomás Gutiérrez Alea
- 21 Como Agua Para Chocolate (Like Water for Chocolate, 1993), Directed by Alfonso Arau, Based on the Novel of the Same Name by Laura Esquivel
- 22 Central do Brasil (Central Station, 1998), Directed by Walter Salles
- 23 Amores Perros (Love’s a Bitch, 2000), Directed by Alejandro González Iñárritu
- 24 Y Tu Mamá También (and Your Mother Too, 2001), Directed by Alfonso Cuarón
- 25 Cidade de Deus (City of God, 2002), Directed by Fernando Meirelles
- Guide to Further Reading
- Glossary
- Select Bibliography
- Index
Summary
Cast
Diego, played by Jorge Perugorría
David, played by Vladimir Cruz
Nancy, played by Mirta Ibarra
Germán, played by Joel Angelino
Crew
Director: Tomás Gutiérrez Alea and Juan Carlos Tabío
Director’s assistant: Mayra Segura
Screenplay: Senel Paz
Photography: Mario García Joya
Cameras: Mario García Joya and Ernesto Granados
Music: José María Vitier
Sound: Germinal Hernández
Editing: Miriam Talavera, Osvaldo Donatién
Set: Fernando Pérez O’Reilly
Costume Design: Miriam Dueñas
Make-up: Graciela Crossas
Producer: Miguel Mendoza
Awards
Silver Bear, XXIV International Film Festival, Berlin, 1993
First Prize, Director (Tomás Gutiérrez Alea), Best Actor (Jorge Perugorría), Best
Female Backing Role (Mirta Ibarra), International Film Festival, Havana, 1993
Goya Award, Best Foreign Film in Spanish, Film Academy, Spain, 1995
Nominee, Best Foreign Film, Film Academy, Hollywood, 1995
Plot
A young man, David Alvarez, takes a young woman, Vivian, to a brothel for sex. She complains he’s like all men and interested in only one thing, which shames him, and he agrees to wait until they are married. The young girl gets married, but not to David; she gets married to an older man. While having his lunch David is chatted up by an older man, Diego, who invites him back to his apartment where he tries to seduce him. Vivian tells David that she would like an affair with him, but he refuses. David tells his friend, Miguel, a stalwart member of the Young Communist Youth Movement, about Diego, and Miguel tries to persuade him to shop Diego. Nancy, the member of the local Vigilante group – and also a prostitute – living in the same building block, slashes her wrists, and Diego takes her to hospital. David gives blood for Nancy’s operation. David goes to see Diego to find out about the art exhibition he is organising. Diego then finds out that Germán’s exhibition – because of its anti-revolutionary content – has been banned. He has a furious argument with Germán, and the latter ends up smashing all his art exhibits. Diego sends a letter complaining about the decision to ban the exhibition, an unwise act since – as we find out later – he loses his job. David gives some of his poems to Diego to look at; Diego pulls them to pieces, saying they are simply propaganda. Diego holds a Lezama Lima meal for David, and David sleeps with Nancy. Diego decides he has no choice but to leave Cuba.
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- Information
- A Companion to Latin American Film , pp. 162 - 170Publisher: Boydell & BrewerPrint publication year: 2004