This documentary traces the tangled paths and multifaceted identity of a black Cuban family in the Bronx. The subjects of this film experienced firsthand some of the great historical events of the 20th century – they saw Castro’s arrival in Havana and had their neighborhood bombed in the Bay of Pigs invasion; one son fought in Vietnam and a daughter marched against it. Both working-class and professional, black and Latino, foreign and native, Spanish-speaking and English-speaking, the family is shown in the constant process of negotiating its identity. On their arrival in Miami, the family immediately encountered racial segregation, and as children in a mixed Puerto Rican/African-American neighborhood in the Bronx, they were forced by their playmates to choose their identity: “Are you black or Spanish?” Even the family’s roots in Cuba are complex - the grandfather was the son of Jamaican immigrants to Cuba – and their relation to the Cuban Revolution is ambiguous.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.
Like many things, like animals and people, they always evolve. When the first humans walked the Earth, they originated from Africa and were all black.
2026 ranks highest in Oscars history for its representation of minorities in all categories, and that’s definitely something to be celebrated.
If you've watched 'Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles', you are either someone who believes “nothing happens” in this three and half-hour film or you’re like me who believes everything happens.
I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it.
