'Una Noche', is first time feature director Lucy Mulloy's take on modern day Cuba and its attendant contradictions. Mulloy is New York based but spent a good deal of time in Cuba, learning about its culture. In the first third of the film, before the main plot kicks in, we're introduced to Lila, a teenager living in Havana with her brother Elio and her parents.
Lila serves as both narrator and 'observer' of the action. She is worried about her brother Elio, who has befriended the homophobic Raúl, who both work at a pantry. Elio has developed a secret crush on Raúl, who has dreams of escaping to Miami in order to make a better life for himself.
Mulloy not only sets out to tell a story based on a real-life event, but also give us a feel for what Cuba is like today. The city of Havana appears to be full of run-down buildings and cars from the 1950s, still running on the street. Cuba is still a paternalistic culture, evidenced by its widespread disdain for gay people. We see that when a group of youths on bicycles taunt a gay kid walking on the street.
Raúl's homophobia is also on constant display—in one particular memorable scene, he curses out a prostitute after he discovers she's a transsexual. Raúl also may be typical of the 'macho' type who treats women as sex objects. He's always coming on to Lila who will have none of it, and protects herself by taking Taekwondo lessons. Lila is also alienated when she follows her father and observes him making love to another woman.
It takes a while but the plot gets in gear when Raúl purchases some medication on the black market for his AIDS-infected mother, who works as a prostitute. When he comes home to give her the medication, he finds her having sex with a tourist which enrages him. Raúl assaults the tourist and later we find out that he's wanted by the police since the tourist may actually end up dying (assaulting tourists appears to be a very serious offense, in economically depressed Cuba).
Now Raúl must go the U.S. or else he'll end up rotting in a Cuban prison. Elio, reluctant earlier, now decides to go with Raúl to the U.S. Lila, the perennial observer, confronts Elio in front of Raúl, and begs him not to go with him. When she can't dissuade him, she agrees to help the guys with their makeshift raft. The superstitious Raúl insists on going to a woman who attempts to lift a potential curse the three may be facing, when they're adrift at sea.
The last third of the movie and the dark moment of the second act is when Raúl, Lila and Elio attempt to make it to the U.S. on their flimsy raft. Neither the motor or GPS work, so they're relegated to paddling with tiny oars. I won't give away the ending but suffice it to say, things don't go well for the hapless trio.
Dariel Arrechada steals the show as the rough and surly Raúl. The part of Lila (played by Anailin de la Rua de la Torre) is underdeveloped since her role appears mainly relegated to the part of the narrator. Javier Nuñez Florian does well as the less extroverted Elio, playing off nicely against the more aggressive Raúl. In a major real-life postscript to the film, both actors playing Lila and Elio, ended up defecting to the United States.
Lucy Mulloy is an up and coming director to watch. She has a feel for both the camera and the actors she directs. Mulloy not only captures the troubled nature of Cuban society but also its incredible buoyancy. In her next feature, perhaps it might be a good idea to rely less on narration to move her story along. I have no doubt that Hollywood will be offering this talented director some higher budgeted jobs in the future.
Lila serves as both narrator and 'observer' of the action. She is worried about her brother Elio, who has befriended the homophobic Raúl, who both work at a pantry. Elio has developed a secret crush on Raúl, who has dreams of escaping to Miami in order to make a better life for himself.
Mulloy not only sets out to tell a story based on a real-life event, but also give us a feel for what Cuba is like today. The city of Havana appears to be full of run-down buildings and cars from the 1950s, still running on the street. Cuba is still a paternalistic culture, evidenced by its widespread disdain for gay people. We see that when a group of youths on bicycles taunt a gay kid walking on the street.
Raúl's homophobia is also on constant display—in one particular memorable scene, he curses out a prostitute after he discovers she's a transsexual. Raúl also may be typical of the 'macho' type who treats women as sex objects. He's always coming on to Lila who will have none of it, and protects herself by taking Taekwondo lessons. Lila is also alienated when she follows her father and observes him making love to another woman.
It takes a while but the plot gets in gear when Raúl purchases some medication on the black market for his AIDS-infected mother, who works as a prostitute. When he comes home to give her the medication, he finds her having sex with a tourist which enrages him. Raúl assaults the tourist and later we find out that he's wanted by the police since the tourist may actually end up dying (assaulting tourists appears to be a very serious offense, in economically depressed Cuba).
Now Raúl must go the U.S. or else he'll end up rotting in a Cuban prison. Elio, reluctant earlier, now decides to go with Raúl to the U.S. Lila, the perennial observer, confronts Elio in front of Raúl, and begs him not to go with him. When she can't dissuade him, she agrees to help the guys with their makeshift raft. The superstitious Raúl insists on going to a woman who attempts to lift a potential curse the three may be facing, when they're adrift at sea.
The last third of the movie and the dark moment of the second act is when Raúl, Lila and Elio attempt to make it to the U.S. on their flimsy raft. Neither the motor or GPS work, so they're relegated to paddling with tiny oars. I won't give away the ending but suffice it to say, things don't go well for the hapless trio.
Dariel Arrechada steals the show as the rough and surly Raúl. The part of Lila (played by Anailin de la Rua de la Torre) is underdeveloped since her role appears mainly relegated to the part of the narrator. Javier Nuñez Florian does well as the less extroverted Elio, playing off nicely against the more aggressive Raúl. In a major real-life postscript to the film, both actors playing Lila and Elio, ended up defecting to the United States.
Lucy Mulloy is an up and coming director to watch. She has a feel for both the camera and the actors she directs. Mulloy not only captures the troubled nature of Cuban society but also its incredible buoyancy. In her next feature, perhaps it might be a good idea to rely less on narration to move her story along. I have no doubt that Hollywood will be offering this talented director some higher budgeted jobs in the future.