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La Habana cinecittà: la ciudad neorrealista de Fernando Pérez

Abstract : Fernando Pérez’s recent work, in particular the one that focuses on the city of Havana (Suite Habana, 2003 and Últimos días en la Habana, 2016), proposes a very relevant update of the issues and reflections of Italian neorealism of the 1940s and of its Latin American variant of the 1960s. With an obvious naturalistic projection, through the real settings of the Cuban capital, the non-professional actors and the emphasis on individual destinies of common people, the two films studied have a clearly social perspective, centered on a daily material and moral survival in a context of scarcity and great precariousness, but also of immense dreams. However, neorealism is defined above all by an aesthetic search and with formal criteria, which is masterfully ex- pressed in the symphonic city through purely optical and sound situations of everyday banality.
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Contributor : Nelly Rajaonarivelo Connect in order to contact the contributor
Submitted on : Monday, January 3, 2022 - 9:56:27 AM
Last modification on : Tuesday, January 4, 2022 - 6:51:17 AM


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Nelly Rajaonarivelo. La Habana cinecittà: la ciudad neorrealista de Fernando Pérez. Simone Ferrari, Emanuele Leonardi. Rutas Atlánticas. Redes narrativas entre América Latina y Europa, Milano University Press, 2021, Texturas 1, 979-12-80325-30-3. ⟨10.13130/texturas.59⟩. ⟨hal-03507064v2⟩



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