Codigo Color, Memorias (Color Code, Memories) is a documentary that explores the complex theme of racial prejudice through the memories of the picturesque city of Santiago de Cuba.
The film approaches the theme from a new perspective and through an exquisite visual language. Using color as a narrative strategy, and combining it with eloquent archival images, CODIGO manages to transport us to a decisive period in Cuba history, the 1950s.
This half-hour documentary interweaves paradoxical, sometimes tearing dramatic stories, with simple physical theories and artistic concepts about the colorsaround us. As human beings, how do we perceive color and how does it affect us? How have interracial relations evolved during the formation of our society?
In these complex times, CODIGO COLOR offers a unique prism of our past, leading us to analyze the ways we observe, judge and appreciate our relationship tocolor, the color of skin.
“When I told my dear American friends I was making a film about racism in Cuba, reactions were... interesting. Some would even ask me: Is there racism in Cuba?
The answer to that question, Cubans know, is quite complex ... "It's an enigma locked in a chest filled with taboos, hidden in a maze at the bottom of the Caribbean." - I’d say somewhat frustrated. I knew I had to approach the issue in a fresh and bold way. I needed to use an unexpected angle, a very particular style. Thus Color Code Memories was born, in my mind. I wanted to start a dialogue between generations. A conversation inspired by curiosity and fueled by that ignorance and lack of honesty that tie our lips when we dare to talk about racial discrimination.
With Color Code, I intend to start a conversation about skin color. I am trying to promote a debate about our present, supported by our memories.”
WILLIAM SABOURIN O'REILLY
This story takes us out of Havana and brings the viewer to life in Santiago de Cuba, the cradle of Caribbean culture on the island, thus allowing the audience to appreciate the racial, cultural and social diversity of this fascinating country. The documentary gives voice to a sector of the population often ignored by the international media.
The Caterpillar and The Butterfly is a window into the ex perience of living in Cuba through the last two decades, using a rich backstory for all the characters upon which to build the different plots and dramatic moments in thelm. The story is character driven, with no narration and virtu- ally no talking heads, so it will use the character’s voices as voice-over only when necessary as part of a narrative device. Most scenes are captured cinema veirté style, as this story moves beyond Carnival contests. It explores the context in which these men prepare all year for