Mennell, Jan
November 2008
Canadian Journal of Latin American & Caribbean Studies (Canadian;2008, Vol. 33 Issue 66, p89
Academic Journal
While Fernando Perez is considered by many the greatest living filmmaker in Cuba at this time, his works are relatively understudied. To some extent, this is because of the highly symbolic nature of his work, as well as a deliberate ambiguity in his representation of the Revolution and the national imaginary since the fall of the Soviet Union. This article explores the use of women and spatial imagery in Madagascar, his third feature-length film and arguably his most esoteric. Through the presentation of a feminine genealogy and the diverse spaces they occupy, the director portrays the different stages of the revolution: the grandmother, whose generation dreamed the new nation; the main character, Laura, who grew up with those dreams and who now feels adrift and out of sync with them; and her teenage daughter, Laurita, who represents the younger generation searching for a new dream, as symbolized by Madagascar.


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