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More than 40 years ago, Fidel said that “we would not come to trust that a lgbt could incorporate the conditions and requirements of conduct that will enable all of us to consider him a true Revolutionary, a true Communist militant” (West 16). This comes after Cuba’s swing action towards the Soviet bloc through which Fidel inch[asserted] Revolutionary control of key establishments of the ‘bourgois’ social order” (Skidmore, Johnson and Green 125) including the media, process of law, unions, universities and educational institutions. Tomás Gutierrez Alea’s Fresa y chocolates is set more than three decades ago during this time of homosexual intolerance under Castro’s regime. Using mise en scène as well as the evident dialogue between Diego and David, Alea’s Fresa (53: 28-58: 56) criticizes the Castro regime’s intolerance of homosexuality by suggesting that Cuba’s politics be more liberal and inclusive of mental minds who want to fight for Emborrachar.
Alea provides an impressive mise en scène that showcases Diego’s character since an honest ground-breaking. In the creating shot from the scene and throughout, Diego (Jorge Perugorria)’s apartment is filled with art in the forms of images and statues, an abundance of ebooks on the bookshelf, and Diego is also found wearing a get across necklace. Deborah Shaw publishes articles, “It came into existence clear that the revolution was not open to everyone, certainly not to its leading part, Diego, a nonconformist, guttersnipe Catholic homosexual” (20-21). Diego is well established as being truly intellectual and knowledgeable about Cuban politics, however he is outcasted because he is known as a homosexual and a Catholic, something that Fidel did not put up with in communism Cuba. The intolerance in the Cuban federal government is highly criticized in that people like Diego who confirm themselves to care about and fight for the ongoing future of Cuba happen to be being disregarded because the federal government cares too much about personal details rather than overall politics.
The discussion of the film reveals the filmmakers’ adverse position on the government system. In this picture, Diego and David (Vladimir Cruz) address Diego’s homosexuality and what it means for him to be a homosexual in ground-breaking Cuba. Deborah Shaw produces, “Strawberry is known as a defense from the prohibited and hidden identities of others, and this is why much of the discussion takes the shape of justification” (26). Through this scene, you cannot find any background music to make their discussion seem much less important, they may have an important conversation about the failure of Castro’s authorities to include the gay intellectuals who happen to be active in bettering Tanque. Despite staying gay, Diego says “I’m still good and devoted. ” David says, “But not a revolutionary, ” that Diego responds, “But who says I’m not really? ” Diego is constantly justifying his cause to be a proud Cuban individuals like David automatically presume his homosexuality is a health problem and opinions him like a lesser being. “What do you believe in, inches asks Diego. “Cuba, inch says David. “So will i, ” says Diego. This scene is constantly on the show Diego’s passion for any liberal and inclusive Barrica which is reflective of the actual filmmakers’ imagine Castro’s unique politics should be.
In order to talk about an agenda of any politically understanding Cuba, Tomás Gutierrez Alea creates a mise en scène that reveals the ideal way of living of a Cuban revolutionary. Alea also executes a critical discussion throughout the picture that directly confronts David’s homosexuality being a gateway towards a liberal and comprehensive political viewpoint. This ideal lifestyle of a revolutionary shows that one can always be politically energetic and excited about Cuba, with a tolerante personal, artistic and spiritual life over and above that. Should Cuba’s authorities be more liberal and including all, they will have more help in improving Cuba for the future.
