Memorias del subdesarrollo

Comparisons to Godard or other New Wave filmmakers are superficial at best. This is not merely a French bourgeois's Marxist pseudo-intellectual ramblings, it's a very human story shot in the midst of post-revolutionary material and psychological turmoil, and the malaise provoked by the cyclical nature of underdevelopment (pretty words I KNOW). I'm surprised at how few rankings this movie's got at this site, don't know if it's a distribution thing in the US or what.

The style is kind of a New Wave/semi-documentary hybrid... seemingly quite influenced by Godard. Like Godard, it gets rather wordy at times, and not having any knowledge of the Cuban revolution I was a bit lost at times. I wasn't quite sure where Alea's sympathies lay: was I supposed to like Sergio or not? I couldn't tell, but perhaps this adds to the film's complexity. Interesting and well-done, but as someone who generally likes to keep politics out of his movies it wasn't really my bag.

This was one of those films that went down easy, even as I wonder in the aftermath what it was all for or about? In particular, I struggled with Sergio, the disaffected, privileged guy walking around criticizing his underdeveloped country. I consistently wondered whether GA was critiquing Sergio as well, but that never seemed clear to me.

Feels like a Cuban 'Forrest Gump' (that's not an insult in this case) with some New Wave thrown in for good measure. Interesting overall (mostly the politics), though I felt my mind drifting in parts.

Surprisingly mediocre. Memories of Underdevelopment is theoretically more attractive than its actual result and relies on the overreading of the story for a better appreciation. The film, even though it wants to connect the transition of Cuba through the story of the “self-reflective” bourgeoisie Sergio, comes quite short of demonstrating that sociopolitical change, which is a disappointment because, in theory, the viewer can get the feeling of that great transition.

Cool and conscious, the predicament of the protagonist is an appropriate mataphor. Touches on the troubled and constricted situation of the intellectual involved in the work of decolonising, whose instruction has trained them to see the system with the consequence of being implicated in its broad effects. The result is to be cut off from 'the people', and a diminished capacity for true comraderie. How can this person speak of justice, if they were to be served injustice?

Fascinating, dreamy drift through “Bay of Pigs” era Cuba is most interesting for its documentary-like scenes of everyday life which give the film a genuine spark of spontaneity and perfectly balance the more dry, Humbert-like musings of Corrieri’s lead (who startlingly resembles Laurence Olivier!). More effective as a historical record of sights and sounds than a coherent narrative (or consideration of a political position), however quite accessible (and satisfying) on that basis.

Technically interesting and an interesting character study of an unlikable protagonist, though narratively lacking for me. It didn't always hold my interest--some of the political discussion, etc, probably would have played better for me if I had lived there then. It is sometimes very dense, and as a personal flaw I sometimes have some difficulty with reading and fully comprehending subtitles when a film gets complicated and wordy, so sometimes films like this aren't as impactful for me.

it's a poignant exploration of how one finds themselves stuck inside a simple yet labyrinthine world, without anywhere to go. because even if you do go, is there any place where you won't have similar problems, concerns, or dilemmas? it's like that cavafy poem, you always bring yourself with you any city you go to, and what else is there but your own messy perspective to understand the outside world? *fragmented* editing and visual regime help to convey this hopefulness quite well.

A privileged white guy stays behind while family and friends flee Cuba after the Bay of Pigs; he's apparently hoping to prove something by doing so. Instead, he continues to stalk underaged girls, which doesn't seem to fit into his ongoing complaint about how Cuba is "underdeveloped." Visually, it's interesting; the plot is a little too choppy for my taste. It's much more of a "mood" film than a propaganda one.

an avant-garde Film with artistic expression!!

How does one get rid of underdevelopment? It is very difficult. It leaves its mark on everything. What are you doing here, Sergio? What's the meaning of this? You have nothing to do with these people. You're alone. In underdevelopment nothing has continuity, everything is forgotten. People aren't consistent. But you remember many things, you remember too much. Where's your family, your work, your wife? You're nothing, you're dead. Now begins, Sergio, your final destruction.

Too much narration and ideological musing for my taste, but executed with beautiful style when it manages to stay on the narrative.

Didn't love it as much as others

"This film is definitely utilizing elements - source material - that isn't too different from what Hollywood would be mining." http://illusionpodcast.blogspot.com/2014/10/episode-34-tomas-gutierrez-aleas.html

Broken and wretched things are narrated best with a broken and imperfect style, far from Godard's non-sense speculation and empty philosophizing, this movie thinks in terms of cinematic form. When Sergio is shown into pixels when camera zooms to him, it shows his loss of contact in a cinematic way. I found it very similar to what Oguz Atay did in his literary works, he was using a neology such as "underdeveloped loves".

a rich, complex film following an ex-landlord in revolutionary cuba who narrates with highly subjective political and personal commentary. it's probably difficult to fully get its politics given the quite heavy reliance on cuban history, but that knowledge isn't necessary to follow the narrative, or even the fragmentary presentation of the protagonist's memories. there seems to be an analogy being made between his bourgeois exploitation, western intervention, and his subpar treatment of women.

The movie has a brilliant microcosmic version of itself in a scene where Sergio visits Ernest Hemingways residence, and ponders Cubas excistence through Hemingways relative indifference to it. This theme flows elegantly throughout the movie, and makes it a ponderous, if not quite hypnotic affair.

#353

Took a lot from the French Nouvelle Vague, in a very good way.

Though its style is a remnant of New Wave influences, it at least points to a feeling of uncertainty and moral doubt in the aftermath of the Cuban revolution. It's the fall of a self-elected aristocrat who can't move forward or back. The bits and pieces of narration form a view of a society forever on the verge of creating itself.

"A stirring blend of narrative fiction, still photography and rare documentary footage." - Ed Gonzalez

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I was expecting a more overtly political film but was pleasantly surprised to find a fundamentally human story. It's still political to the core, but presents it as part of Sergio's meditation on life and doesn't pretend to provide any easy answers. It reminded me a bit of Hiroshima mon Amour in it's light treatment of a heavy subject and contemplative tone. Very interesting and worth watching.

# 375

This film brings up some interesting thoughts about the "underdevelopment" of certain societies and people themselves. It almost feels like a French New Wave film. I like it.