Humberto Solás
1941 - 2008His cinematic style borrows from Luchino Visconti's spectacular mise en scene and is permeated by sometimes heavy melodrama. He started making shorts at a very young age, before directing his first medium length film Manuela, in 1966. The success of this film led him to direct Lucía, an ambitious period piece told in three stories in different moments of Cuban history, all as seen through the eyes of a different woman, each named Lucia. He later directed many different projects with a degree of success, but he never matched again the international acclaim of his first feature.
Solás has won 13 awards for filmmaking and been nominated for an additional 9. His 1968 film Lucía won the Golden Prize and the Prix FIPRESCI at the 6th Moscow International Film Festival. His 1985 film A Successful Man was entered into the 15th Moscow International Film Festival.
In 1977 he was a member of the jury at the 10th Moscow International Film Festival. He has twice served on the jury at the Berlin International Film Festival, in 1977 and 1997. In 2003, he founded Gibara's Poor Cinema Festival, "open to filmmakers with limited funds". Solás was awarded Cuba's National Film Prize in 2005.
Humberto Solás died of cancer on September 18, 2008, at the age of 66.
Le siècle des lumières
Humberto Solás
François Dunoyer
Follows the story of three privileged Creole orphans from Havana, as they meet French adventurer Victor Hugues and get involved in the revolutionary turmoil that shook the Atlantic World at the end of the eighteenth century. The main characters are all members of one family: two siblings, Carlos and Sofia, and their cousin Esteban.
Le siècle des lumières
Lucia
Humberto Solás
Raquel Revuelta, Eslinda Núñez
In his award-winning film Lucía, Humberto Solás interpreted the theme of Cuba’s hundred years' struggle in an entirely novel way to create an epic in three separate episodes, each centred around a woman called Lucía and each unfolding in a different period of Cuban history, corresponding to the three stages of colonialism (1895), neocolonialism (1930) and socialist revolution (1968). The three episodes also present us with "Lucías" of different social classes. Solás described his film in this way: "The woman's role always lays bare the contradictions of a period and makes them explicit: Lucía is not a film about women, it's a film about society."
Lucia
One Day in November
Humberto Solás
Eslinda Núñez, Gildo Torres
It is the story of a young man named Esteban, who was totally devoted to the cause of the Revolution against Fulgencio Batista. One day, Esteban is diagnosed with a cerebral aneurism, which causes him to take stock of his life as a revolutionary and to reconsider his relationships to his family--to his mother and brother, particularly--and his friends.
One Day in November
Un Hombre de Exito
Humberto Solás
César Évora, Daisy Granados
Javier Argüelles, an opportunistic young man from Cuban middle class, survives all kind of political changes in Havana, from 1932 to 1959, while his brother Darío is persecuted and killed because of his leftist ideas.
A Successful Man
Barrio Cuba
Humberto Solás
Jorge Perugorría, Luisa María Jiménez Rodríquez
Over several years, we follow three households and their emotions in a barrio of Havana. Magalis is a nurse, rarely happy. An older man, Ignacio, professes his love for her; her father and her brother quarrel over her brother's sexual orientation; she thinks about leaving Cuba. Santo's wife Maria is expecting their first child. Tragedy strikes and Santo leaves, drowning sorrows in alcohol and crime while his son grows up in the care of an aunt wondering where dad is. Vivian and Chino are in love, passionate, but childless. The pressures of a society that demands grandchildren strain their relationship.
Barrio Cuba
Cecilia
Humberto Solás
Daisy Granados, Imanol Arias
The story of Cecilia is a story of the society that dominated 19th-century Cuba, a society divided between whites, blacks, and those who were mixed, the mulattos. (Since the Spanish conquistadors killed off the Indian population in Cuba not long after they took over the island, there are no mestizos, or those of mixed-Indian blood in Cuba as in other Caribbean nations.) At any rate, the drama about the life and loves of Cecilia (Daisy Granados) takes place against the backdrop of graphically violent mistreatment of slaves and the rumors of a slave rebellion after the Cubans hear of slaves turning against their captors in Haiti.
Cecilia
Simparelé
Humberto Solás
SIMPARELE is history interpreted through people's art. The film synthesizes the primary forms through which the Haitian people have expressed themselves in the centuries since the island's colonization by the French and the massive importation of African slaves to fuel its plantation economy. It is a composite of dance, theatrical tableaux, poetry, song, folk painting, legend and religious ritual. SIMPARELE acknowledges the powerful role which Afro-Haitian culture has played in these people's political struggle as both repository for people's history and the raw material from which that history can be reconstructed and transformed.
Simparelé
