Dialectical from opening title to ultimate picture, “One Means or One other” — the primary and solely characteristic by the Afro-Cuban director Sara Gómez — introduces itself as “a movie about actual folks, and a few fictitious ones.” That’s one option to describe this deft combination of cinéma vérité, ethnographic documentary, feminist social realism and class-conscious revolutionary romance.
“One Means or One other” opens Friday for a weeklong run on the Brooklyn Academy of Music. Restored from its authentic 16-millimeter, the movie seems terrific, and, regardless of its nostalgia for the beliefs of the Cuban revolution, it feels as related right this moment because it did in 1974.
Whereas “One Means or One other” by no means had a proper launch in america, it has surfaced periodically in movie sequence, together with one at BAM 5 years in the past that was dedicated to Black girls’s cinema. (Reviewing this sequence, to which “One Means or One other” lent its identify, the New York Instances critic Manohla Dargis known as it “a still-exciting combination of documentary and narrative fiction.”)
“One Means or One other” might be described as a love story involving two photogenic younger folks — a macho employee, Mario (Mario Balmaseda, who was knowledgeable actor), and a schoolteacher, Yolanda (Yolanda Cuéllar, who was not). Nevertheless it has extra on its thoughts.
Mario, a mulatto laborer, grew up on the imply streets of Havana’s Miraflores district; Yolanda, who’s white, educated and center class, has been assigned to show in a Miraflores main college. Each have office points. Mario is implicated in a buddy’s misconduct; Yolanda is repeatedly suggested to be extra diplomatic in coping with her pupils’ impoverished dad and mom.
Given their backgrounds, the lovers typically misunderstand one another. Context is all. Their most intimate dialog is within the “impartial” territory of a tiny posada, or resort; their story is interspersed with interludes in regards to the historical past and legacy of slavery — together with the African faith Santería and the all-male secret society Abakuá.
Photographs of slums and slum clearance present a metaphor for the creation of a brand new society and a brand new consciousness. That the principals come collectively and drift aside amid a relentless interaction of destruction and development means that their relationship — just like the Cuban Revolution — is a perpetual work in progress. Didactic as it’s, “One Means or One other” will be taken for socialist realism, but when so, it’s a extremely authentic and even crucial variant. (The “constructive hero,” an axiom of the mode, is an Afro-Cuban musician and former boxer, Guillermo Diaz, who provides a music demystifying conventional gender roles.)
Skilled as a musician, Gómez made a rating of brief documentaries. (She additionally served as an assistant director on Agnès Varda’s 1963 documentary “Salut les Cubains” and will be seen dancing the cha-cha on the film’s conclusion.) “One Means or One other” is so brimming with life and concepts that it’s shattering to study that Gómez died, at simply 31, whereas enhancing it — she succumbed to a extreme bronchial asthma assault amid issues giving start to her third little one.
The postproduction was accomplished by her colleagues, and the film was not proven till 1977. Since then, it has been acknowledged as a landmark of feminist, neorealist, Communist, Cuban, Latinx, Third World and easily world cinema.
One Means or One other
July 8-14 on the Brooklyn Academy of Music in Brooklyn; bam.org.
