Such new forms of behavior and new thinking methods are exactly what Gomez brings to an “one way or another” feature. The opening credit displays a mixture of documentaries and imagination, describing it as “a movie about people, some of them fake, and some are real, then a group of actors followed by a group of” real people “. The characters in the midst of the drama are a young couple, Yolanda (Yolanda Coelar), who is a teacher In the elementary school, which is light skin, and Mario (Mario Palacea), a black factor in a bus factory. Their romance is based on a dialectical companionship in which they reveal and discuss the stories of their lives – that Gomez, as Gomez appears, is deeply established in the political and social process of their neighborhoods And their time. The demolition of the neighborhoods of the poor and the modern housing, which explains the history of the marginalization of the proletarian, the roots, Gomez emphasizes the capitalist necessity of work.
Yolanda grew up in an economically comfortable house, and her way to her profession was not deceived. Mario, who grew up poorly, grew up in the streets, rose in school, and “enjoy life”. Although he managed to win a scholarship, he abandoned his studies, but he intends to become ñañigoA member of a secret community mostly, often black called Apacoa. Gomez presents another documentary on the history of Apacoa-which was previously worshiped Africans, and the group later grew to include the country’s Kriol residents as well-its role in perpetuating a blog of deep roots.
Both hero, in fact, contradict the centrifuge and central mixtures. Yolanda finds herself a growing conflict with colleagues because of her impatience with the insecurity and unconfirmed homosexuality. Mario finds himself in a conflict between friendship and duty. His friend, who is an outgoing colleague, is named Hamro (Mario Limona), working on a false pretext for the family emergency in order to visit a girlfriend – and admits his lies to Mario. When Hamberto, who was brought before the Labor Court, is repeated with the insolence of the lie, Mario’s rupture. Hamberto presses him on silence, but doing this means betraying his societal principles. The Machismo Blog that connects Mario to his friend – and his friend’s arrogant sexual assumptions – is also a source of conflict between him and Yolanda. Although she must recognize her economic privilege in order to explicitly contain her impressive and deal with the families of her poor students who suffer from patience and understanding, she pressures him on his commission assumptions. Mario should choose the new male concession bubble and revolutionary awareness. (One of the movie “Real Popher”, Guillermo Díaz, a musician, a former boxer, and a convicted killer, plays a major role in the Enlightenment Mario). Another “focuses on the revolutionary virtue of reporting, even on friends.
If there is an educational element in nature in the complex tangle of Gomez of Documentary and Fantasy, this is a realistic educational matter. It reflects the spread of ideological debate in the Cuban daily life at the time – in education, advertising, and in the type of discussions that were exactly filmed. It also seems that it is real with the mental groups of the characters-ideas, emotions and motives (whether conscious or unconscious) at work in their lives. This type of vibrant works is exactly what is often missing from American films, which, despite the bone nature, lacks the feeling of authentic communication in reality – especially from internal facts – which are very abundant in Gomez’s work.
She started her movie at the age of twenty, Gomez showed a precort. From an early age, she participated in the wider world, dealing with professionals and bureaucrats, seeing and negotiating the practical aspects of power, with the formation of its methods as well, the formation of its ideas, and the expansion of its experience. “My contribution”, her first movie, is the result of not only a decade of artistic development, but more than that, the development of its own cinematic world – a full complex of topics, tones, methods and emotions can test the test in the world as a whole. With a mixture of documentaries and imagination, Gomez has created a new cinematic method, which she used to express a strong vision of her country, time and place in both. Thanks to its enthusiastic, but critical image of the revolutionary ideology and its post -revolution, its work is an ideal mixture of analytical, personal and sympathetic cinema. It reveals the framework of the drama even during its expansion and takes a comprehensive but dialectical view of individuals and society, which makes them not exclusive but they do not separate in identity but are active and variable. As is the case with Gomez, after he died as young, it was fixed in history as a young way out forever, so its work continues to embody cinematic youth, to this day. He is a young man achieved by a few film makers working today. ♦
