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Archivistas Salvajes 1. Cuban Experimental Cinema: Games of Language, Diaries, and Urban Drifts (15*)

Open City Documentary Festival

A man with a sign

Known as Los Subterráneos (The Underground Ones), this first archive of Cuban amateur cinema seeks to preserve a unique type of film record in the extensive history of Cuban cinema.

This programme brings together key works by two of the most singular figures of Cuban independent cinema, Manuel Marzel and Juan Carlos Alom.

Moving between playful appropriation, film collage, documentary exploration and poetic observation of everyday life, these films engage with international experimental traditions while maintaining a distinctly local gaze. 

The programme offers a journey through recovered materials, personal diaries, urban gestures, and formal experiments that expand and question cinematic language.

Please note that this event has been locally classified and we suggest it is suitable for those aged 15+.

This focus is curated by Archivistas Salvajes (Daniel Saucedo, Lucía Malandro, Josué G. Gómez and Fabio Quintero) with Jonathan Ali. 

The screening will feature an introduction and post-screening conversation with Fabio Quintero and Jonathan Ali. 

Film Programme

Habana Solo
2000, Cuba, dir. Juan Carlos Alom, 25mins

A sensory portrait of central Havana capturing the city’s atmosphere and daily rhythm. Through wandering observations, the film constructs an urban symphony that reflects both transformation and continuity within the cityscape.
 

La ballena es buena (The Whale Is Good)
1991, Cuba, dir. Manuel Marzel, 14mins

A Sunday afternoon in the neighbourhood: apparently nothing happens. In this stillness humorous observations unfold, in which the trivial becomes poetic, turning the absence of events into the film’s central narrative material.
 

Diario (Diary)
2009, Cuba, dir. Juan Carlos Alom, 15mins 

Inspired by José Martí’s diary written during his journey from Cap-Haïtien to Dos Ríos, the film merges historical memory and personal impression to evoke both the journey and the figure of Cuba’s national hero through a contemporary, fragmentary lens.

 

A Norman McLaren (To Norman McLaren)
1991, Cuba, Manuel Marzel, 12mins

Inspired by Norman McLaren’s techniques of direct animation on film stock, this short film constructs a collage from randomly obtained fragments subjected to multiple visual interventions. The result is an abstract, playful narrative infused with humour and suggestion, close to a Dadaist spirit, accompanied by music from Villalobos–Gismonti and Eva y los Pecadores.


Enigmas versiformes (Versiform Enigmas)
2019, Cuba, dir. Juan Carlos Alom, 8mins 

Through numbers, symbols and street gambling practices, this film observes how numerology and superstition permeate everyday Cuban life. A visual essay seeking meaning in the seemingly banal, revealing the hidden poetics of urban experience.


Evidentemente comieron chocolate suizo (Evidently They Ate Swiss Chocolate)
1991, Cuba, dir. Manuel Marzel, 13mins 

The director rescues the final reel of a supposedly lost crime film, though its original soundtrack is beyond recovery. The result is a deliberate play with cinematic language that humorously questions narrative conventions and representational codes. An irreverent homage to and parody of bloody thrillers, Godard and even Madonna’s pop imagery.

Cinemas

Location
Barbican Cinema 1 is located within the main Barbican building on Level -2. Head to Level G and walk towards the Lakeside Terrace where you’ll find stairs and lifts to take you down to the venue floor.   

Address
Barbican Centre
Silk Street, London
EC2Y 8DS

Public transport
The Barbican is widely accessible by bus, tube, train and by foot or bicycle. Plan your journey and find more route information in ‘Your Visit’ or book your car parking space in advance.