En un barrio viejo, 9', 1963
A few years after the Revolution, Havana seems to be a post-war city. A portrait of people who live in an old neighborhood. Honored at Krakow Film Festival (1964).
Los del baile, 6', 1965
People dance during a performance of Pello el Afrokán’s Orchestra. The film was censored, as well it happened with the documentary PM at the beginning of the revolution, for showing an undesired image of Havana’s nightlife, when films were supposed to encourage revolutionary heroism.
Ociel of the Toa River, 16' 1965
Ociel is a teenager who lives near the Toa river, in the eastern part of Cuba. He goes to the school and works as boatman. Life is hard there. A poetic film about dreams and death. First Prize at Valladolid International Film Festival (1966).
Retornar a Baracoa 1966
A portrait of Baracoa, the most eastern city of Cuba, and its inhabitants. Banned.
reportaje en el puerto pesquero 9' 1966
There is a political meeting of peasants against ignorance. Ignorance is represented as a rag-doll. During the speeches, peasants seem not to understand. They prefer to dance. Banned.
Arábiga 18' 1968
Commanded as a propaganda documentary to show how to sow coffee around Havana. In fact, Guillén Landrián made a didactic film, exhibited but banned as soon as the coffee plan collapsed.
Habana ¡1969! Recordar 18' 1969
"El montaje es frenético, propio de la textura hipnótica y desorientadora a un tiempo de la publicidad, de su diálogo con el inconsciente. Es esta la obra más decididamente experimental."
Nosotros en el Cuyaguateje Cuba 10'
Nosotros en el Cuyaguateje es un recorrido a lo largo del río occidental, donde se explica mediante un locutor en off, el nombre del afluente, la derivadora de aguas hacia las lagunas, el sumidero, la vida y el trabajo de los pobladores de la zona.
Filmmaker Guillen Landrian: Cuba’s Loose Cannon 5/22/2015 Havana Times: "On
the decision of a handful of individuals – and thanks to the consent of many –
intellectuals were expected to agree with and place their art at the service of
the changes that were taking place on the island…or leave the country. The logic
went that whoever dared think differently, played into the “hands of the enemy”
or for opposing the socialist realist norms that were being established, had no
place among a people that was making extreme sacrifices for the sake of a better
life. This helps explain why the work of Guillen Landrian, which survived the
poor conservation efforts devoted to it, was not divulged. There are Internet
sites where one can find his works, which also circulated via USB memories or
DVDs, but they aren’t included in any film or television programs (they are not
even mentioned in spaces dealing with cinema). There is no official or public
acknowledgement of Guillen Landrian’s film production – it is as though he had
never existed. A mere two or three film critics have studied his films."
Art, Havana and Public Spaces 5/17/2015 Havana Times: "Fourteen guest artists from different countries will breathe life back into the workshop that the late Cuban documentary filmmaker Guillen Landrian immortalized in his Taller de Linea y 18 (“The Workshop on Linea Street”), a place much deteriorated by the passage of time which has seen many uses. These ruins will come back to life as of May 22, through the project Montañas con una esquina rota (“Mountains With a Broken Corner”)."
Recuperando a Nicolasito Guillén 4/10/2015 CubaNet: "Lo mejor de este homenaje, sin embargo, fue la proyección de nueve documentales de Nicolás Guillén Landrián realizados entre 1966 y 1972: Coffea arabiga, Retornar a Baracoa, Desde La Habana, Nosotros en el Cuyaguateje, Los del baile, Ociel del Toa, Para construir una casa, Plenaria campesina y En un viejo barrio. Al margen de cuán adecuada o justa haya sido la selección, el simple hecho de haberla realizado es un mérito para los jóvenes organizadores de la 14 Muestra. Es cierto que no es la primera vez que se exhibe el cine de este director al menos en el Chaplin, pero también es verdad que, desde hace unos años, la nueva documentalística cubana tiene más raíces en Guillén Landrián que en Santiago Álvarez."
Films by Nicolás Guillén Landrián 9/7/2014 Viennale, Vienna International Film Festival: V’14: OCTOBER 23 – NOVEMBER 6, 2014
Nicolasito en Cinémas d’Amérique Latine, Nº.18, edición bilingüe - 2010 8/2/2014 Saravá y Aché: "En la Cuba oficial cuando se habla sobre documentalismo en el cine, se menciona siempre a Santiago Alvarez como al gran maestro, mientras se oculta la verdad sobre Nicolas Guillen Landrian, sobre su talento tronchado y reprimido,sobre su obra."
Nicolás Guillén Landrián: entre el desamparo y la pasión 7/31/2013 Diario de Cuba: "Profesores, estudiantes, directores de diferentes generaciones como Jorge Luis Sánchez (El Benny, Dónde está Casal, El Fanguito, Las sombras corrosivas de Fidelio Ponce, aún...) o Raydel Araoz, graduado de la Escuela Internacional de Cine de San Antonio de los Baños (El Hambre, S.E.D., Arquetipos), amigos cercanos y su viuda, Gretel Alfonso, compartían en la sala "Rubén Martínez Villena" de la Unión de Escritores y Artistas de Cuba (UNEAC) anécdotas y valoraciones de sus documentales para llegar a la conclusión de que Guillén Landrián fue un "incomprendido, avanzado para su época"."
¿QUIÉN ERES, NICOLÁS GUILLÉN LANDRIÁN? 7/23/2013 UNEAC: "La pregunta que da título a esta crónica fue muy bien documentada con las respuestas de los miembros del panel moderado por el crítico y periodista Dean Luis Reyes, e integrado por los realizadores Jorge Luis Sánchez y Raidel Aragón. Así, este martes, 23 de julio, en la sala Martínez Villena de la Unión de Escritores y Artistas de Cuba (UNEAC), se evocó —con afecto y respeto— la memoria del realizador audiovisual Nicolás Guillén Landrián (1938-2003), con motivo del décimo aniversario de su lamentable deceso."
Introducción a Guillén Landrián por Julio Ramos y Dylon Robbins 7/20/2013 La Fuga
Exhumaciones de Nicolás Guillén Landrián 7/20/2013 La Fuga
THREE LETTERS FROM NICOLÁS GUILLÉN LANDRIÁN 3/13/2013 Play-Doc: "Those who had known him in Cuba, and had then lost all contact with him, thought that Nicolas Guillén Landrián was already dead. In February of 2003 –thanks to Alejandro Ríos and Lara Petusky Coger – I discovered that this filmmaker was living in Miami and I contacted him. The contact took place via email only and lasted just three months. Nicolasito, at that moment, knew nothing of the cancer that would end his life, nor did I imagine myself making a post-mortem documentary about him. But just as with his films, which were released almost thirty years after being made, in his life everything seemed to be postponed. Rather than it being fate, this was the decision of enlightened culture officials."
Interview: Nicolás Guillén Landrián 10/8/2011 Manuel Zayas: "Nicolás Guillén Landrián passed away on June 22, 2003. Two months before, in what would be his last interview, he spoke of his banned films. These were basically the last words of a man of the most varied occupations: filmmaker, painter, sometime poet and radio host, and in his times of misfortune, park guard and street cleaner. He died in Miami but wished to be buried in Havana."
Nicolasito and Coffea Arábiga 8/9/2007 Radu Davidescu: "Looking at both the formal and thematic aspects of select works from his filmography, I will examine Landrián's filmic evolution across time that would lead to his expulsion from ICAIC and his eventual exile to Miami. While there is continuity in Landrián's work, it can be roughly divided into the work that he has produced prior to Coffea Arábiga (1968) and work that was done following, with Coffea Arábiga serving as a catalyst for Landrián's foray into dangerous territory, territory which the authorities 'didn't like'. At first I will examine the films that he produced up to Coffea Arábiga, starting with En un barrio viejo (1963). Following this, I will look at Coffea Arábiga itself, and the circumstances surrounding its production. Finally, I will regard the implications that it had upon release, both to the filmmaker and to the state of Cuba at the time."
A mental asylum for Michael Moore? 5/15/2007 Spero News: "Thompson asked Moore to speak to Castro about the case of Cuban dissident and fellow documentary movie-maker Nicolás Guillen. According to Thompson, Guillen was imprisoned for an unflattering portrayal of Castro and the Cuban regime and then interned in a mental asylum where he was subjected to electro-shock therapy. Thompson says, rhetorically, at the end of the video “A mental asylum, Michael. Maybe that’s something you ought to think about” before turning in a chair and returning to his cigar. Thompson was apparently referring to famed Cuban cineaste Nicolás Guillen Landrián, nephew of the equally famous poet Nicolás Guillen Batista, who suffered for his inclusion of footage of Fidel Castro in one of his films and then substituting the original soundtrack with the song “Fool on the Hill” by the Beatles. Guillen Landrián was incarcerated for nearly a decade by Castro and released after abusive treatment in the Mazmorra mental institution in Cuba. He was briefly imprisoned again in the 1980s and eventually left to live in the US. He died at the age of 65 in 2003. Guillen Landrián made eighteen documentaries and received various prizes and awards in Europe and Latin America. His uncle, the poet Nicolás Guillen Batista, was a Communist and critic of dictator Fulgencio Batista. The elder Guillen is sometimes referred to as the founder of the movement of “Negritude” in Cuban poetry."
Café con leche ( 2003, Cuba) YouTube, de Manuel Zayas. Café con leche rescata la voz y algunas de las señas de identidad de los documentales de Nicolás Guillén Landrián, el más irreverente y maldito de los cineastas cubanos. Documental de montaje, que cabalga a ratos entre la biografía y el rompecabezas formal, como un retrato incesante de dos épocas.
Especial Nicolás Guillén Landrián, La Fuga, 2013
www.lafuga.cl/categoria/guillen-landrianIntroducción a Guillén Landrián por Julio Ramos y Dylon Robbins
www.ecured.cu/index.php/Nicol%C3%A1s_Guill%C3%A9n_Landri%C3%A1n Nicolás Guillén Landrián on ECUred
Guillén Landrián on IMDb
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