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The Black Cave Screening Programme

23 March 2013 - 24th March 2013

Presented in association with Tate Modern.

Sara Gómez: De cierta manera
Saturday 23 March 2013, 7pm
Tate Modern, Starr Auditorium
£5 / £4 concessions

De Cierta Manera (One Way or Another)
Sara Gómez, Cuba 1974, 78 min

De Cierta Manera is a landmark film in Cuban cinema whose radical innovations in form echo its status as the first feature shot by a woman in Cuba, the country’s first feature shot on 16mm, and a rare example of a feature made by an Afro-Cuban director. Mixing documentary footage with a variety of narrative modes, Sara Gómez’s romantic drama illuminates the histories, problems and contradictions of post-revolutionary Cuba. Against a landscape of dismantled slums and new modern settlements, Gómez reveals inhabitants who are similarly conflicted, caught between entrenched attitudes towards race, class and gender and the egalitarian promise of the Revolution. Gómez died at age 31, after she had shot De Cierta Manera but before the film was completed. This final version was realised several years later by Tomás Gutiérrez Alea and other colleagues.

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Beatriz Santiago Muñoz / Trinh T Minh-Ha / Gregorio Rocha
Sunday 24 March 2013, 4pm
Tate Modern, Starr Auditorium
£5 / £4 concessions

Sábado de Mierda (Saturday of Shit)
Gregorio Rocha and Sarah Minter, Mexico 1988, 25 min
Sábado de mierda is a semi-documentary film that focuses on the lives of the mierdas punks (‘Shit Punks’) gangs in the Ciudad Nezahualcóyotl (or ‘Neza York’) suburb of Mexico City during the 1980s.

Trinh T Minh-Ha, 1982, 40min, 16mm
Reassemblage was filmed in Senegal as part of a three-year work on ethnographic field research in West Africa. In the film, the acclaimed filmmaker Trinh explains that she intends ‘not to speak about / Just speak near by,’ her subjects, unlike in more conventional ethnographic documentary film.

Prisoner's Cinema
Beatriz Santiago Muñoz, Puerto Rico 2013, 35 min
“Another curious element is that it seemed that I was seeing images from the dreams I had that afternoon. But these images were appearing from end to beginning, like a film reel running backwards. I also couldn’t properly situate them.” -- Elizam Escobar, Anti-Diarios de Prisión

After prolonged incarceration and sensory deprivation, some prisoners experience visual hallucinations filled with extraordinary luminescence and color. These hallucinations are sometimes referred to as “prisoners’ cinema”. Elizam Escobar is a Puerto Rican artist and writer who served 19 years in US prisons for the crime of seditious conspiracy. Escobar never experienced these visual hallucinations, but his writing during these years evidences an extreme and sometimes painful attention to mental processes, and an expanded sensorial, emotional and intellectual internal life. Prisoner’s Cinema is the film that might have been imagined by Escobar during these years of imprisonment.

The words in the film are taken from what Escobar has called his prison Anti-diary, a record of the thought processes that ran parallel to his painting, poetry and essays from 1988 to 1995.

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