Bitter Sugar is now one of my most favorite foreign movies, other than ‘Swept Away’. It gives me such a great help understanding the political system in different parts of the world. On this occasion I will begin to interpret the film ‘Bitter Sugar’ directed by ‘Leon Ichaso.’ Bitter Sugar is a film that is mostly in my opinion, anti- Castro. Although the film was made in 1996, it was representing the period after the Cuban Revolution. Hence, the film is shot in Black and White. The structure of the film sends a message to the viewers. Look at the life we live in Cuba, our communist country. The strongest sense this film delivers is the sacrifice one has to do to survive in Cuba. We watch as Anti-Castro citizens try to escape to the United States of America for freedom.
Gustavo is communist who stands for the revolution. The movie starts off with showing us all that Gustavo hopes for. He is hoping to get a promised scholarship for aeronautical engineering. He begins to lose his patience and starts to lose a part of his faith in Castro, even after how faithful his family supported Castro. In the meantime, while frolicking around Cuba he meets Yolanda who comes from the “streets”. Yolanda is Anti-Castro and dreams of being a dancer in Miami. For Gustavo and Yolanda, It was love at first sight.
Disillusion permeate Yolanda and Gustavo in post revolution Havana, Cuba. Yolanda 's parents are not satisfied with her dating Gustavo and distrust the fact that he is a supporter of Castro. Yolanda starts to work as a prostitute in hopes to go to Miami, Florida and pursue her career as a dancer. Money for families are so scarce in Havana, Cuba that her parents do not even argue against her escorting details. Gustavo starts to see the corruption and poverty around Cuba, and he starts to take Castro for who he is. Gustavo realizes that all the public is receiving from Castro, are empty promises.
Gustavo 's father, Tomas Valdez who is a doctor changes
Bibliography: Bitter Sugar. Dir. Leon Ichaso. Perf. Mayte Vilan, Miguel Gutierrez Rene Lavan. New Yorker, 1996. DVD.