197:
Tokyo scenes, which were shot while Coyula was travelling invited to film festivals presenting his film Red
Cockroaches. Most of the various location shoots were done without permits, through favors from friends, and with a minimal crew consisting mostly of director Miguel Coyula, producer David W. Leitner and lead actor Ron Blair, easily adapting at a moment’s notice and without the constraints of a rigid schedule. The film's most decisive work however took place in the editing room. In several visual presentations Coyula stated that no shot in the film escaped digital manipulation of some kind, which included, green screen, compositing in recreating sets, double exposures, replacing backgrounds, changing lighting, weather conditions, performing digital art direction, and actors shot in different countries performing together on screen.
193:
simultaneously, he became aware of new possibilities, which would radically alter the narrative structure of the original novel as well as its characters. The film did not follow the traditional chronology of writing, shooting and editing. This required a new approach where pre-production, production, and postproduction, no longer needed to exist as distinct elements but rather as an integral interactive seamless process. This new way of working was not meant as a shortcut, but rather as a way of revealing new narrative layers of the work as it evolved to create the director’s vision.
334:
172:. This independent film was produced by David Leitner and features Cuban actor Ron Blair as the lead character. It is the first Cuban dramatic feature film with scenes filmed both in Cuba and the United States. After its world premiere at the 2010 Sundance Film Festival, it garnered several awards and honors. The International Film Guide described it as one of the best films Cuba has produced.
205:. The film was funded by executive producers Steve Pieczenik, and Suzana Dejkanovic, associate producers Juan Martinez, and Michael Ferris Gibson as well as the Guggenheim Fellowship Coyula was awarded in 2009 for this project. While working on a low budget delayed completion by five years, it also allowed Coyula to have total creative control of the film.
196:
Coyula would take advantage of everything around him that he thought would add to the film, heavily manipulating images digitally, into the film’s final highly fragmented narrative. For example, the scenes with the 9/11 footage, which the director had recorded years before; the Paris, London and
225:
projections, irritation at
American pop culture, political anger, rambling and resentments… These techniques allow Coyula to further destabilize his character, to create a palpable tension between the film and Desnoes’ text, and to eventually reappropriate (or salvage) his trajectory in exile.”
192:
Production of “Memorias del
Desarrollo” took five years, starting in 2005 and completed in 2010, with locations in five countries. According to Director Miguel Coyula, his first draft of the screenplay was a faithful adaptation of Edmundo Desnoes' novel. But as he began filming and editing
224:
Coyula ups the ante by over-compositing the image and saturating the colors, creating a complex kaleidoscope, which in turns dictates the editing of the sequences in a kinetic, non-linear way. Paralleling free association, the structure blurs the lines between actual events, fake memories,
200:
Producer David
Leitner initially hoped to raise 2 million dollars for the project. But after realizing there was no interest from film production companies neither in North or South America, they reverted to a strategy closer to Coyula's first feature,
183:
Highly episodical, the film consists of flashbacks, daydreams, and hallucinations comprising live-action, animation, and newsreel footage assembled to suggest the way personal memory works, subjectively and emotionally.
213:
Memorias del
Desarrollo received almost unanimous positive reviews throughout its Film Festival run. An initial negative review by Variety’s Robert Koehler after its premiere at Sundance, described the film as
1059:
532:
506:
235:. Cinema Without Border’s critic Robin Menken chose it as the Best Film of 2010. The International Film Guide described it in its 2011 survey as “One of the Best Films Cuba has produced”.
180:
Sergio Garcet is an intellectual who abandons the Cuban
Revolution and 'underdevelopment' behind only to find himself at odds with the ambiguities of his new life in the 'developed' world.
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220:“Thoughtful and cinematically bold... an affecting portrait of modern man becoming more and more isolated from a world he helped to create.”
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A dazzling and disconcerting work of great bravado… A paradigm for a new digital cinema beholden to no orthodoxy.”
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Best
Narrative Feature, Extreme World Cinema Festival San Sebastián de Veracruz, Mexico, 2012
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Chosen among the 10 Best Cuban Films of 2010 by the ACPC (Cuban
Association of Cinema Press)
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1000:"IFG - Cuba International Film Guide 2010 | PDF | Cuba | Unrest"
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Audience Award for Best
Foreign Feature Film, Arraial CineFest, Brazil, 2012
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Best
Director, Latinamerican Territory, Málaga Film Festival, Spain, 2011
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Orlando Luis Pardo lazo's review at Diario de Cuba summarized the film as
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Special Mention, Cine Las Americas International Film Festival, USA, 2010
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Editora Musical Award, Havana New Filmmakers Film Festival, Cuba, 2011
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Cine Latino Award, Washington DC Independent Film Festival, USA, 2011
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Best Original Music, Havana New Filmmakers Film Festival, Cuba, 2011
958:"Cuban moviemaker Miguel Coyula to triumph in Havana Film Festival"
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Subsequently James Greenberg from Hollywood Reporter considered it
216:“an unfortunate follow up to Tomas Gutierrez Alea’s masterpiece.”
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FIPRESCI Award, Havana New Filmmakers Film Festival, Cuba, 2011
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SIGNIS Award, Havana New Filmmakers Film Festival, Cuba, 2011
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Most Innovative, Cero Latitud Film Festival, Ecuador, 2010
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Best Film, Havana New Filmmakers Film Festival, Cuba, 2011
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Special Jury Award, Encuentro Nacional de Video, Cuba, 2011
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Best Film of 2010, according to CWB's critic, Robin Menken
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Best Cuban Film of 2010 by the International Film Guide.
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Latin American Film Scholar Michael Chanan declared it “
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Special Jury Award, El Almacén de la Imagen, Cuba, 2011
880:"Premio a la PelĂcula Cubana Memorias del Desarrollo"
698:"Washington DC Independent Film Festival Awards 2011"
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Best Narrative Feature, Dallas Video Fest, USA, 2010
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UNEAC Award, Encuentro Nacional de Video, Cuba, 2011
311:Best Feature, New Media Film Festival, USA, 2010
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160:) is a 2010 Cuban film. Written and directed by
557:Pardo Lazo, Orlando Luis (December 20, 2010).
1102:Films about immigration to the United States
1036:Memories of Overdevelopmen—Film Review
250:Best Film of 2010 by Cinema Without Borders
222:Bérénice Reynaud at Senses of Cinema wrote “
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278:FIPRESCI Award, Caracol Awards, Cuba, 2011
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452:
403:"Guggenheim Fellows Artistic Statement"
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582:
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233:“A memorable moment in the Cuban Arts”
168:, also the author of the 1968 classic
479:Greenberg, James (January 14, 2010).
429:"Memorias del Desarrollo Cine Cubano"
365:
363:
302:Special Award, ACE Awards, USA, 2011
1034:Greenberg, James (14 October 2010) "
453:Koehler, Robert (January 23, 2010).
427:Lizarraga, Milagros (Nov 18, 2010).
1112:Cultural depictions of Fidel Castro
828:"Havana New Filmmakers Awards 2011"
802:"Havana New Filmmakers Awards 2011"
776:"Havana New Filmmakers Awards 2011"
750:"Havana New Filmmakers Awards 2011"
724:"Havana New Filmmakers Awards 2011"
559:"La historia al estilo de un Comic"
505:Reynaud, Berenice (July 11, 2010).
281:Mention, Caracol Awards, Cuba, 2011
164:, the story is based on a novel by
79:Dika Durbuzovic, Hayes Greenfield,
13:
1117:Cultural depictions of Che Guevara
1058:Reynaud, Bérénice (11 July 2010) "
672:"Malaga Film Festival Awards 2011"
583:Menken, Robin (January 23, 2011).
401:Coyula, Miguel (August 13, 2009).
360:
14:
1133:
1047:Menken, Robin (23 January 2011) "
980:
531:Chanan, Michael (July 11, 2010).
1107:Films about the Cuban Revolution
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507:"The Image and Its Discontent"
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371:"Best Cuban Films of the year"
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481:"Memories of Overdevelopment"
455:"Memories of Overdevelopment"
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319:Havana Film Festival New York
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1122:2010s Spanish-language films
1060:The Image and its Discontent
1031:. Abu Dhabi Film Commission.
619:. 2011-10-04. Archived from
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170:Memories of Underdevelopment
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997:"Best Cuban Films of 2010"
988:Memories of Overdevelopment
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103:22 January 2010
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1029:International Film Guide
617:International Film Guide
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157:Memorias del Desarrollo
1053:Cinema Without Borders
1041:The Hollywood Reporter
650:Cinema Without Borders
589:Cinema Without Borders
533:"Memories of Memories"
155:
1092:Existentialist films
1068:, Issue 55. - review
44:based on a novel by
646:"Best Film of 2010"
585:"Best Film of 2010"
485:Hollywood Reporter
433:Milagros Lizarraga
407:Fine Arts Examiner
1087:Cuban drama films
854:"ACE Awards 2011"
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31:Miguel Coyula
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1014:. Retrieved
1007:the original
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321:, USA, 2010
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119:Running time
96:Release date
66:Susana PĂ©rez
890:October 24,
594:January 23,
490:January 14,
464:January 23,
340:Cuba portal
317:Best Film,
123:112 minutes
52:Produced by
27:Directed by
1082:2010 films
1076:Categories
1016:2018-01-25
412:August 13,
387:2011-01-01
354:References
188:Production
107:2010-01-22
37:Written by
942:April 29,
916:April 29,
864:April 29,
838:April 29,
812:April 29,
786:April 29,
760:April 29,
734:April 29,
708:March 29,
682:March 28,
656:March 28,
630:March 28,
209:Reception
136:Languages
63:Ron Blair
1055:- review
1044:- review
968:March 6,
884:Cuba Out
542:July 11,
516:July 11,
326:See also
90:Pirámide
76:Music by
60:Starring
1023:"
459:Variety
438:Nov 18,
152:Spanish
128:Country
105: (
1097:Nudity
255:Awards
239:Honors
1010:(PDF)
1003:(PDF)
624:(PDF)
613:(PDF)
381:(PDF)
374:(PDF)
993:IMDb
970:2010
944:2011
936:imdb
918:2011
910:imdb
892:2010
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676:imdb
658:2021
632:2021
596:2011
570:2010
544:2010
518:2010
492:2010
466:2010
440:2010
414:2009
176:Plot
131:Cuba
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