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STRAWBERRY AND CHOCOLATE (Fresa y Chocolate)

Aspect ratio: 1.85:1

Sound format: Ultra-Stereo

Used as an unwitting pawn by his pro-revolutionary colleagues, a naive student (Vladmir Cruz) is encouraged to develop a platonic relationship with a flamboyant gay artist (Jorge Perugorria), whose political allegiances have fallen under suspicion. But as their friendship deepens, Cruz is transformed by Perugorria's resistance to the Cuban regime, even as the forces of oppression begin to close around them.

Based on a short story ('El Lobo, el Bosque y el Hombre Nuevo') by screenwriter Senel Paz, STRAWBERRY AND CHOCOLATE is a joyous celebration of life and non-conformity, distinguished by Perugorria's vivid performance as a self-proclaimed 'outsider' who rejects his friend's unquestioning loyalty to the Cuban political system that is stifling their beloved homeland. Their budding relationship is complicated by Perugorria's unrequited love for Cruz, depicted here with dignity and compassion, though it's their political differences which ultimately unite the two characters, even as Perugorria is forced to reap the whirlwind of his public defiance. Also starring Mirta Ibarra as Perugorria's flaky neighbor, who introduces virginal Cruz to the joys of sexual liberation! It isn't a terribly cinematic film, but production values are solid, and the characters are played with such integrity, it hardly matters; this is a movie in which ideas take precedence over action, and the emotional payoff is quite powerful indeed. Beautiful music score by Jose Maria Vitier, too. Directed by Tomás Gutiérrez Alea and Juan Carlos Tabío.

NB. The original US version (released by Miramax) is missing approximately six minutes of footage. Absent material includes a brief conversation about racism during Cruz's first visit to Perugorria's apartment, and a sad little sequence in which the two characters pretend not to notice each other after meeting by accident in a bookstore.

(Spanish dialogue)

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.

The comment from the viewer in Norway who had to be forced to watch this lovely film is in dire need of just more than learning to speak Spanish. This film is not about two gay men, as one character is gay, the other is straight. It is a movie about how two people who seem to be very different are really very similar. Both love their country and they learn that love of man (or of woman) and of country can be expressed differently and still be valued and respected. It is a wonderful, charming, endearing and thoroughly well acted movie. It is extremely realistic and gives and shows a snapshot of Cuba we are not able to see or partake of. I thoroughly enjoyed this movie. It is funny, well acted and well written and directed. The two male leads are superior as is the female character. I have seen this movie many times and never tire of it. I most highly recommend it. It is not a gay film, so don't think of it that way or you will be very disappointed.

This movie is about accepting difference and learning to appreciate other points of view and other ways of life. It's not really a movie about gay men - get over that! It's about friendship, and about the love Cubans feel for their country. Jorge Perugorría is absolutely great in this role, as are all of the other characters. The scenes of Havana are beautiful and heartbreaking. This film conveys what it must feel like for Cubans to leave their country, and how difficult that is. It's also about learning to think for yourself and to have opinions and do things that others might not find "politically correct." There's nothing subversive about this movie, and nothing that you need to hide from the kids. In fact, I recommend that people show the film to their teenagers and talk about it, because it sends such a great message about accepting people as they are. It's also tender and funny, and has just the right balance of humor and drama. Nancy (Mirta Ibarra) is wonderful.

I agree with all the positive things already so well put forth by other reviewers and say that I liked this film a lot. Jorge Perugorria is incredible as the slightly "queenie" gay man. I have seen him in other films where is so different, as a very macho truck driver, for instance. Here he is the art and book lover and appreciator of good food and drink, as well as attractive young men. His "education" of the stern young Cuban Communist (an excellent Vladimir Cruz), a very straight man with intense emotional animosity toward gays, becomes a study in the resolution of human relationships triumphing over social and political obstacles.The comradely embrace of the two men , symbolizing their understanding and acceptance of each other despite superficial differences, was a masterstroke at the end of this fine film.

This Oscar nominated film is the story of two men who are opposites, one gay, the other straight, one a fierce communist, the other a fierce individualist, one suspicious, the other accepting, and how they come to love each other.

Roger Ebert comments that "nothing unfolds as we expect. Strawberry and Chocolate is not a movie about the seduction of a body, but about the seduction of a mind. It is more interested in politics than sex — unless you count Sexual Politics, since to be homosexual in Cuba is to make an anti-authoritarian statement whether you intend it or not." I don't know anything about homosexuality in Cuba, though my guess is that it was rather taboo in 1993, much like in most of the western world. But I do know that very few Cuban films get screened in the US, and even fewer get Oscar nominations. That alone makes this film worth watching, because it exposes us to a culture that we rarely get to see... (though today -- 2017 -- travel does seem to be a bit easier)

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."

Cinema is an art in itself and not a sum of arts. That is because it has specific things that can't be made alone by any other art. Now, what exactly can make cinema an art of its own is arguable but will always have something to do with passing anything through moving images:

. storytelling . a mood, an atmosphere . fact

all three are worth exploring. In Fresa y chocolate, the problem is there is an apparent mixture of all three, which can exist, but not like exposed in here. The device was clear and apparently effective: a simple story inside Story. never mind the simple story, it's the least important. The Story is the whole Cuba context. Go to the general, pick up an episode (that may represent or not, fact) and from there build the mood, the atmosphere. This last step was what failed. And it was for a non definition on the "eye" of the camera. By giving all the ingredients, all the passwords to the contained world (island) and to its specific context, it should have been shown. I've been to Cuba, there was not much lacking for me, i know what i didn't see in the picture, but by focusing on dialog (that could for its meaning come embedded on the mood) and by not having an eye for the street, for the people, for the city, the project lost a big deal. It had everything to be a film about a city. Story inside space, since the story we are told is clearly typical, one in many. it may have been political issues behind, and it is of great importance that this film could have been made, versing such locally heavy themes. But that's my main critic, Gutiérrez Alea had an excellent eye for portrait, and for placing stories in context, but he lacked the sense of the place, in terms of senses (modd, atmosphere).

Even though a good document, worth watching, excellent character development, excellent performances also. Diego's house (and the dialogs that go with it) contain excellent underline thoughts, the dialogs are filled (i didn't read the original story) with messages, in a not so subtle way. Also a note for the excellent use of the color (very Cuban).

My evaluation: 3/5

This is undoubtedly one of the greatest Cuban films of the last two decades, Tomas Gutierrez Alea "titón" was an excellent film director that took part in many of Cuban most awarded films ever and he's for so much in Cuban top 10 directors list. About Perugorria "Pichi" he's one Cuban most largely known actors of the time and has proved to be a never static actor, never stereotyped actor, ... The film aboard one big truth, not just a Cuban one but a latinamerican one, the macho men thinking way that has to do with everyone's way of interacting in society. The film captures a particular stage on Cuban history when homosexuality was mistreated even at high levels and the prejudice set against homosexuals was really strong, even more on men because of the imperant Latin "machismo". This is just a gift both for cinema lovers and for those that loves Cuba and Cubans.

"Calibrating a 1979 Havana in its actual built environment, Alea and Tabío's film crimps the narrative mostly within four walls (Diego's crammed apartment, and the whole rundown building, college facilities and dormitories, a two-by-four room, etc.), via its Third-Cinema approach. A budding friendship takes its root in Diego and David's opening-up about their differences and similarities, STRAWBERRY & CHOCOLATE mercifully sits on the fence in terms of their ideological schism without omitting the pall of Castro regime, because regardless of their beliefs, it is the commonalities as Cubans, as fellow earthlings that bind them together, which surpass any sexual attractions and social prejudices, David is amazed and awed by Diego's erudition and honesty, whereas Diego's view on David alters from a sex conquest to a sincere friend."

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"Fresa y chocolate" has more historical significance than cinematic merits: for the first time, a film from revolutionary Cuba openly treated homosexuality, from a point of view that it's too "safe" to create a controversy. It was greeted with great enthusiasm by Cuban homosexuals, including those that were victims of persecution during the 1970. But I am sorry to say that, being myself a mature homosexual from the Capitalist world who has gone through all kind of persecutions in life --literal and symbolic-- I find the story too clichéd and manipulative, and the main character a sad figure from the past, trapped in time and space. When it was made Tomás Gutiérrez Alea, whose masterpiece "Memorias del subdesarrollo" (1968) is among the best films of world cinema of all times, was terminally ill, so Juan Carlos Tabío (whose forte is comedy, including the classic "Demasiado miedo a la vida o Plaf") had to share the direction. The script by Senel Paz is tame, Vladimir Cruz is miscast and the whole affair is a bit boring and demodé.

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.

This movie of Cuba circa 1990 is awesome. It's best seen with virgin eyes, not after reading reviews. Just know you may be smiling through tears at the end.

This is a rather good and surprising Cuban movie, focusing on homosexuality in Communist Cuba. It's not the sort of movie you expect coming from Cuba and on top of that it also isn't a movie that stays on the surface but goes in into the subject real deep.

It's not a movie that focuses on the physical relationship between the two main characters but more between the spiritual relationship of the two, which is a surprising approach. So, it's not a 'standard' movie about two man falling in love with each other, as you at first might expect when watching this movie. It's a movie that goes much deeper and therefor gets more layered, interesting and compelling to watch. It's great to see how the two of them grow toward each other, in a non-forced or formulaic way. It feels like a warm and very realistic movie, since it never chooses to diverse from its main plot-line and mainly focuses purely on the two main characters of the movie.

Vladimir Cruz gives a good and realistic performance. But one thing that bothered me about him was that he was very popular in both male and female camp, which seemed weird and funny to me, since he really didn't looked like an handsome guy. But who knows, maybe this is the Cuban's idea of a pretty looking man. Jorge Perugorría also did a good job, although he performance as an homosexual character seemed a bit too feminine and over-the-top to me at certain points. He played the character like an obvious stereotype of a gay person but he did it in such a good and sincere way that it wasn't always a problem.

I was also surprised by the look and overall atmosphere of the movie. Foreign movies, made outside of Cuba, always focus- and shows its visual beauty, of wide beaches, palms, beautiful music and people living there. It's a sort of an almost surreal and alternate world if you look at it. This movie is however more dark and gritty and shows the ugly side of Havana, both visually as with its themes and underlying comments.

Some of the symbolism and underlying messages in the dialog are a bit too obvious, as if they were trying too hard, but this is perhaps the only real flaw in the movie its excellent story and directing of the movie.

Don't know why the movie is often being regarded and treated as a comedy. It's above all an heavy drama but done in a light and more pleasant sort of way, but those are no reasons for me to regard this movie as a comedy. The movie uses the more European style and approach of the story and characters. So be sure what to expect when watching this movie.

A great and relevant movie because of its themes, and I assume also a big step forward for gay-right and tolerance in Cuba.

8/10

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Knowing how the Cuban government suppressed homosexuality for so long, it's sort of surprising that they allowed a movie about it. But the movie ended up being quite good. Diego (Jorge Perugorria) is a student in 1979 Havana who hooks up with the aesthetic David (Vladimir Cruz), who turns out to be gay. Naturally, Diego is a little unnerved by this, but over time, he and David come to respect each other.

One reason that "Strawberry and Chocolate" is especially good is because they never go overboard in trying to portray gay people. David is attracted to men, certainly, but he never does something like start dancing to a disco song suddenly. Quite an impressive movie.

"Strawberry and Chocolate" is definitely one of the best foreign films I've seen so far. It's both entertaining and moving. In the opening scenes, I couldn't help but laugh at the fish-out-of-water interactions between the main character and the gay man. But the actor who plays the gay man isn't a walking stereotype. He shows many feminine characteristics, but not in a way that he seems to be almost laughing at himself. Often times, gay men feel like women stuck in men's bodies, so it's only natural that they act feminine, but that doesn't mean all they talk about is which guys they think are hot and their longing for promiscuous sex. During those interactions, the gay man hits on the main character, but that's because he's a handsome guy. If a straight man were to meet a pretty girl, he'd hit on her too. Only that wouldn't be disputed, because heterosexuality is considered normal. But the gay man's advances aren't too forward and he doesn't start harassing him or anything.

The friendship between the two characters develops slowly, but realistically. You can't expect an average heterosexual man to immediately click with a homosexual. During their later conversations, the gay man expresses more of his emotions, and how he's shunned by society. Of course, we've seen other movies where gay characters express their disgust for being treated as third-class citizens, but in this case I felt connected to the characters to the point where it didn't feel like a plot device. As I said, the relationship develops naturally and not through sentimental coincidence.

Some directors would augment the relationship to the point where the main character decides that he himself is gay. But what are the chances that'll happen in reality? I have some gay friends, but that doesn't tempt me to like men as well. In fact, I still cringe when certain gay friends of mine talk about their sexual episodes. In this film, the main character remains straight and even falls in love with the man's older next-door neighbor. I enjoyed that little subplot and felt it strengthened the narrative, instead of driving it off course. The next-door neighbor also adds more comic relief to the film, with her quick wits.

The acting is excellent. Aside from the actor who plays the gay character, who I feel gave a tour de force, the main actor also delivers. His reactions are very genuine, as he's sort of the straight man (no pun intended, seriously) feeding off his co-star's energy. The film is directed the same team who made "Guantanamera," another independent gem which I had the pleasure of watching in one of my previous film classes. The two movies show the directors' knacks for telling an engaging story that can be both riotously funny and incredibly moving.

My score: 9 (out of 10)

`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.

"Strawberry and Chocolate" is a Cuban film that was nominated for the Best Foreign Language Oscar--losing to "Burnt By the Sun" (my personal favorite was "Eat, Drink, Man, Woman"). And, although the film is set in communist Cuba and is about a gay man, you can enjoy the film regardless of your orientation (political or sexual). It's simply well made and interesting.

David is a very straight young man who is an unquestioning lover of the Cuban revolution. One day, he's approached by Diego and lured to Diego's apartment. However, because David is certainly not gay, Diego's conquest never occurs and David leaves. When David tells a friend about this, this friend encourages David to return to spy on Diego. After all, he's a gay religious man and has international ideas--and MUST be an enemy of the state. Something strange happens, however, and Diego and David become friends--something that challenges both of them. Diego must learn to deal with a non-sexual male friend and David must realize that you can still love your country without being straight or having a love of life outside Cuba.

The film works mostly because the acting is quite nice and the story universal. Even with a few anti-American remarks at one point, the film is one anyone can enjoy. And, I was surprised that this Cuban film was willing to question what it is to be patriotic--and how Cuba in 1993 was not exactly tolerant when it came to homosexuality. Fascinating.

By the way, there is a reasonable amount of nudity in this one, so you may want to think twice about having younger folks watch the film.

At first I thought that this was a Latin version of a typical gay film that comes out of the U.S. I couldn't have been more wrong. It's really a charming film about friendship that's difficult to achieve. "Why does sex always get in the way?" David asks. In other words, it's as difficult for a gay and straight man to develop a friendship as it is for a straight man and woman. Sounds a bit like dating and marriage, doesn't it? It's even more difficult when a government and friends interfere.

At the beginning I was afraid that Diego would actually seduce David and voilà we have the usual gay film that I find boring. Instead, I really got to like Diego, much the same way he eventually charms David. That's getting involved with characters in a movie. Excellent performances by the two leads.

The other performance that is compelling is that of Nancy (Mirtha Ibarra). I first saw Mirtha Ibarra in Guantanamara, a film that followed this by a year. In both films, she plays the older woman that every young man fantasizes about. Where was Mirtha Ibarra when I was David's age? I don't know how, if the Cuban regime is supposed to be so oppressive that they allowed this film to be made. Perhaps they wanted to show the "Yanquis" that it's possible to be critical of the government and still love one's country.

This is a film that I will see twice.

This movie wants to show the usual problems of the Cuban people inside the Fidel Castro's government. The problems with this movie is that it uses symbols own of the Cubans that they only shall understand.

I recommend to read something about the Cuba or to talk with some Cuban before see the movie.

This film isn't just an "odd couple" story, as it can appear at a first glance. This is a landmark Cuban film about the plight of homosexual artists in Communist Cuba. Being homosexual in Cuba in the 60's and 70's, maybe even the 80's, could mean incarceration or being sent to "colonies", often hard labour camps. What makes this film extraordinary is that it was made by a Cuban director who had been himself part of the Communist intelligenzia at the beginning, but could still be objective and therefore critical of the intolerance of real socialism. What also makes the film extraordinary is that the film itself was a box office success in Cuba and helped change attitudes towards homosexuality. Tomás Gutiérrez Alea, or Titón, as he was known in Cuba, is the greatest and best loved Cuban filmmaker, with a trademark black humour, best exemplified in his outstanding films Memorias del subdesarrollo (Memories of Underdevelopment) (1968) and La Muerte de un burócrata (Death of a Bureaucrat) (1966). His last film, Guantanamera (1994), which he made when ill with cancer, is a black comedy of "funeral" errors and criticism of Cuban bureaucracy. This is his legacy, the way he wanted his public to remember him, laughing at death.