This essay examines Fernando Perez's film, Suite Habana (2003). The initial release of the film was met with general acclaim, and critics touted it as the inauguration of a new era in Cuban cinema. I argue that, although the film proves highly innovating in significant and compelling ways, it also must be understood within the trajectory of contemporary Cuban cinematic and cultural production. Moreover, through a careful analysis of the content and key stylistic elements, I argue that the film points precisely to the limitations of filmic and cultural expression: in the end, it portrays the melancholia produced by desires that cannot be adequately addressed in the confines of the urban and/or cinematic environment.
ASJC Scopus subject areas
- Language and Linguistics
- Linguistics and Language
- Literature and Literary Theory