Fragola e cioccolato

one of films with status of experience. because it is a simple and precise pledge for discover the other. because it is a great friendship story. because it defines each totalitarian regime in its essence - especially Communism - in the right manner. and, not the last, for great performances. Jorge Perugorria is the fine example, his Diego being brilliant example of vulnerability, force and special form of wisdom. Vladimir Cruz, as the young man looking his sense/happiness, Galateea of a not ordinary Pygmalion, does an admirable work, too. and it is not fair to ignore Francisco Gattorno who has the chance to propose more than a character from the Latino soap opera area. "Fresa y chocolate" is one of films who must see twice. in strange way, for its beautiful simplicity. because it remains one of the most touching pledge for the courage to be yourself. and for the joy of life. and for authentic links between people. short, a real great film.

`Strawberry and Chocolate' (1993)is set in contemporary Havana. The luster of that city has dimmed after nearly four decades of Castro's rule. David (Vladimir Cruz), a student and avid Castro supporter, is on the rebound after losing his girlfriend. He had taken her to a cheap hotel to make love, but the place is so shabby it puts her off. Instead, he promises never to touch her until they marry. In the next scene, she marries someone else while David stands sullenly among the well wishers at the registry office. Then he meets Diego (Jorge Perugorría).

Diego, who is flamboyantly gay, parks himself at David's table in an outdoor café to eat a dish of strawberry ice cream. For David, this is suspicious because chocolate is also available. Diego says some people like chocolate, some like strawberry, an innocuous line that gives the movie its title and also hints at the odd couple relationship to follow.

Diego does not disguise his sexual interest in David, but is also interested in giving David an education the regime denies him. The older man is far more cultured than his new friend. Offers of books banned in Castro's Cuba, such as a novel by Mario Vargas Llosa or the poems of John Donne, lure David to his apartment for tea and talk. When David reports that Diego is involved with a forbidden art exhibit, he is directed to befriend Diego to find out more information. `Strawberry and Chocolate' thus sets their emerging friendship against the backdrop of two bleak themes: anti-gay prejudice in the Castro regime, and the betray-thy-neighbor expectation of a police state.

But almost nobody conforms to type. A woman in Diego's building who is part of the neighborhood Vigilance Committee, on the watch for counter-revolutionary activities, turns out to be a good friend to Diego and then to David. Everyone plays one game with the government, but a different one in their private lives. This is a lesson David has to learn. Encounters with women along the way provide a few subplots, but the heart of the story lies in the hearts of the two men.

`Strawberry and Chocolate' is credited to directors Tomás Gutiérrez Alea and Juan Carlos Tabío. The former was, until his death shortly after completing this film, the best known filmmaker in Cuba, winning an international reputation in the 1960's for titles such as `Memoirs of Underdevelopment,' a look at life in Cuba in the early Castro years that tempers criticism with prudence. `Strawberry' is smaller in scale and less overtly political.

The film was nominated for an Oscar in 1995 and won awards at film festivals around the world (including the Sundance Festival). American viewers may instantly slot it with Hollywood features that show how straight characters learn life lessons from a wiser gay companion (`Boys on the Side,' `As Good As It Gets'). And at times Diego's excesses recall the worst performances of Harvey Fierstein. Yet superb performances by the two male leads eventually move beyond stereotypes they – and the audience – initially share about each other, transforming their unexpected friendship into a statement that puts the lie to official groupthink in a repressive regime.

Fresa y chocolate

I liked to watch Fresa y Chocolate; this is first Cuban movie I've seen. Fresa y Chocolate is a product of two directors, Tomás Gutiérrez Alea and Juan Carlos Tabío in 1993. Fresa y Chocolate was nominated in 1995 the best foreign film. During the production of this film the director Alea had cancer and for this reason Tabío had to help him to complete the movie. Later 1996 Alea die. This movie expresses the oppression of Cuban government toward the homosexual and the conflict also the friendship within two different men.

Around 1997 in Cuba,Diego (Jorge Perugorria ) the main character is a cultured gay and David (Vldimir Cruz) a young revolutionary college student. He is a naive and dogmatic. The story begins at a cheap hotel room where David and his sweetheart, Vivian tried to have first intimate experience together but ended up angry at each other, later Vivian marries to a much older man who is in the government office position. David, the wedding day feeling low come to an Ice cream shop near by school and over there David and Diego meet. At the begging, it was Diego's attempt to allure David but soon it change and in spite of their sexuality, these two different men establish a true friendship. Most of story take a place at Diego's apartment where full of things (art work, forbidden books, pictures...) for David's eye. It is a new and different world for David, a dogmatic and in a way an ignorant. Diego tells David about his anguish and problem toward the government. For him being homosexual hinder his work in Cuba and also his well being, too.

However, David learns much about art and literature from Diego and moreover, he learn how to enjoy and savor life. The message of this movie is tolerance. No matter what is one's sexuality people have genuine heart. They have hope, dreams, and frustration that life brings us.

I think this movie is worth to watch because Fresa y Chocolate gave me a chance to give a glance to Cuba, the country that I don't know yet. To me watching a good film lessens a tension of life.

A beautiful movie for the heart. One of the most wonderful stories of friendship ever told.

Jorge Perugorría as Diego is amazing. (I'd well like to see some of his other work.) It is most astonishing to see how his character develops from the limp-wristed cliché gay at the beginning to a fascinating man who gets in conflict with the regime because he is different on every level from what the system requires him to be: he is an independent spirit, a person with a genuine love for the arts, for literature, for music, he is disappointed by communist ideals - and he is also gay, by the way.

Vladimir Cruz is also very fine as the young and naive David who discovers things through his friendship with Diego he'd never ever thought of: like discovering the beauty of things, of life, of poetry and music... And also being committed to another person, even though this person may seem very 'different' from oneself at first glance.

The development of David's and Diego's friendship is fascinating (I wouldn't interpret anything more into it, not even in the final scene). This is also a "coming of age" tale, in a way: by his friendship with Diego, David begins to think, develops a maturity of spirit - and is also, at last, able to develop a loving and mature relationship with a woman. It is very sweet when he tells Diego: "No-one will hurt her. She is with me."

A true gem of a film. I recommend it to everyone.

Any perceptive viewer of this film will recognize quickly what it does and does not represent. We can be easily misled by previews or trailers promising stereotypical characters or cheap thrills, designed only to attract attention. They can be a turn-off as well. In this case I was fortunate enough to get past the marketing and into what turned out to be a truly well-made and fascinating film of extraordinary literary dimensions.

First, it is a profoundly anti-fascist and anti-totalitarian tale. Internal references to famous Cuban writers and musicians frame every scene, while the players entertain us with character sketches involving such mundane things as romantic urges, kitsch as art, and ice cream. The action is fast-paced. One bit resolves itself into another with ease. Musical scoring and editing are appropriate in every way -- always a hallmark of any good film.

But it is great acting and great directing that put this one over the top into Oscar league contention. A true "must-see."