|

Walfrido Larduet, a lonely electrical inspector, dreams of the Red Woman, whose image persists and becomes an obsession. Something tells him she is near. Over the course of a day, Walfrido will follow her trail as he travels through the suburbs of an infested city.

Poster Tundra: short film distribution
|

Walfrido Larduet, a lonely electrical inspector, dreams of the Red Woman, whose image persists and becomes an obsession. Something tells him she is near. Over the course of a day, Walfrido will follow her trail as he travels through the suburbs of an infested city.

Poster Tundra: short film distribution

TUNDRA

Cuba,  2021 / 30′

a film by
José Luis Aparicio

with
Mario Guerra
Neisy Alpízar
Laura Molina
Jorge Molina
Jorge Enrique Caballero

Screenplay Carlos Melián
Director of Photography Gabriel Alemán
Production Design Pepe Reyes
Costume Design Any Boza
Editor Joanna Montero
Composer Rafael Ramírez
Sound Glenda Martínez
Producer Leila Montero
Daniela Muñoz
José Luis Aparicio
Gabriel Alemán
Production Leila Montero
Distribution Esen Studios

Short Film Tundra distribution: laurels
Short Film Tundra distribution: laurels

BEST SHORT FILM

– Pendance Film Festival (Canada) | 2022
– Fantaspoa (Brazil) | 2022

BEST CINEMATOGRAPHY / BEST PRODUCTION DESIGN

SHORT to the Point (Romania) | 2022

BEST SHORT FILM

– Pendance Film Festival (Canada) | 2022
– Fantaspoa (Brazil) | 2022

BEST CINEMATOGRAPHY / BEST PRODUCTION DESIGN

SHORT to the Point (Romania) | 2022

OFFICIAL SELECTION

  • Sundance Film Festival (USA)
  • Curta Cinema – Rio de Janeiro International Short Film Festival (Brazil)
  • BAFICI – Buenos Aires Festival Internacional de Cine Independiente (Argentina)
  • Miami Film Festival(USA)
  • Fantaspoa (Brazil)
  • Pendance Film Festival (Canada)
  • Santa Fe Film Festival (USA)
  • San Diego Latino Film Festival (USA)
  • SHORT to the Point (Romania)
  • The Paus Premieres Film Festival (UK)
  • ViVe Latino Film Fest (Canada)
  • Uruguay International Film Festival (Uruguay)
  • Philadelphia Latino Film Festival (USA)
  • Galacticat – Fantastic and Terror Film Festival in Tàrrega (Spain)

 

OFFICIAL SELECTION

  • Sundance Film Festival (USA)
  • Curta Cinema – Rio de Janeiro International Short Film Festival (Brazil)
  • BAFICI – Buenos Aires Festival Internacional de Cine Independiente (Argentina)
  • Miami Film Festival(USA)
  • Fantaspoa (Brazil)
  • Pendance Film Festival (Canada)
  • Santa Fe Film Festival (USA)
  • San Diego Latino Film Festival (USA)
  • SHORT to the Point (Romania)
  • The Paus Premieres Film Festival (UK)
  • ViVe Latino Film Fest (Canada)
  • Uruguay International Film Festival (Uruguay)
  • Philadelphia Latino Film Festival (USA)
  • Galacticat – Fantastic and Terror Film Festival in Tàrrega (Spain)
Distribution Short Film: Director "Tundra", Aparicio

José Luis Aparicio

José Luis Aparicio Ferrera (Cuba, 1994), independent filmmaker, critic and curator. B.A. in Film and Television Directing from Cuba’s University of the Arts (ISA).  His graduation short-film El Secadero / Dryland (2019) won several awards in Cuba, Panama and Mexico and was also selected for several film festivals in Latin America and the U.S. His medium-length documentary Sueños al pairo / Dreams adrift (2020) was censored by the Cuban government due to its criticism of the regime’s violent history. It had its world premiere in Argentine’s BAFICI and has been selected for several European festivals. His latest fiction short-film Tundra (2021) had its world premiere in Curta Cinema – Río de Janeiro International Short Film Festival and its North American premiere in the 2022 Sundance Film Festival. In 2019 he was named amongst the “One hundred latinos that create and inspire a better future” by Colombia’s Avianca magazine. As a film critic he created the Cine Cubano en Cuarentena / Cuban Cinema in Quarantine (CCC) initiative, a collaborative effort aimed at the preservation, research and exhibition of Cuban cinematic legacy.
He has written about cinema and arts for several Cuban magazines and he also participated with three articles in the encyclopedia A Cuban Cinema Companion (2019, Rowman & Littlefield Publishers). He worked as a programmer of the 2nd Mexico City Independent Film Festival and currently performs as head curator of Cuba’s INSTAR Film Festival. He’s currently developing two feature films: the creative documentary El mar / The sea and the fiction project Ismael.

José Luis Aparicio

José Luis Aparicio Ferrera (Cuba, 1994), independent filmmaker, critic and curator. B.A. in Film and Television Directing from Cuba’s University of the Arts (ISA).  His graduation short-film El Secadero / Dryland (2019) won several awards in Cuba, Panama and Mexico and was also selected for several film festivals in Latin America and the U.S. His medium-length documentary Sueños al pairo / Dreams adrift (2020) was censored by the Cuban government due to its criticism of the regime’s violent history. It had its world premiere in Argentine’s BAFICI and has been selected for several European festivals. His latest fiction short-film Tundra (2021) had its world premiere in Curta Cinema – Río de Janeiro International Short Film Festival and its North American premiere in the 2022 Sundance Film Festival. In 2019 he was named amongst the “One hundred latinos that create and inspire a better future” by Colombia’s Avianca magazine. As a film critic he created the Cine Cubano en Cuarentena / Cuban Cinema in Quarantine (CCC) initiative, a collaborative effort aimed at the preservation, research and exhibition of Cuban cinematic legacy.
He has written about cinema and arts for several Cuban magazines and he also participated with three articles in the encyclopedia A Cuban Cinema Companion (2019, Rowman & Littlefield Publishers). He worked as a programmer of the 2nd Mexico City Independent Film Festival and currently performs as head curator of Cuba’s INSTAR Film Festival. He’s currently developing two feature films: the creative documentary El mar / The sea and the fiction project Ismael.

Distribution Short Film: Director "Tundra", Aparicio

Director statement

Russian poet Osip Mandelshtam once wrote: “Humans howl like wild beasts, / and wild beasts look like humans”. Individuals, like beasts, are made of fears and desires. Tundra is a film about these drives. About the frustration that leads to paralysis. I see Cuba as an immobile landscape: the desolate wasteland where nothing grows, where nothing ever happens. The country has taken on the physical aspect of our inner chaos, it stands as a vestigial zone, a post-disaster region. Here the catastrophe occurred silently at some point in the past. What came after is not a part of history.
This film delves into the ghostly aspect of the life in Cuba, usually driven by inertia and automatism. An existence full of physical and mental obstacles, where frustrated desires become entrenched and don’t allow us to move forward. Our main character lives with a monster that grows more and more, emulating the increase of his frustration. He doesn’t know how to get rid of the creature and has ended up accepting it. That is the Cubans’ reflex-response to their problems: resignation. Every individual in the city also has his monster, a metaphor for the cancer that sickens the whole island.
That existential weariness has also become the weariness of the forms. Cuban art, in general, is timid when it comes to deploying its aesthetic devices. It lacks risk and abounds in stereotypes to codify our (ir)reality. One of the main limitations is the insistence on realism as a straitjacket. I believe that realism doesn’t provide us with enough tools to reveal ourselves, that is why I rely on fantasy, science-fiction and the mixture of genres.
It’s necessary that Cuban cinema begins to capture the dark side of our reality. Becoming aware of our problems, our sufferings, is the first step in the construction of a better society, with active individuals in the mission of transforming it. It is necessary to annihilate the beast, but first assume that it is part of ourselves, that sometimes it is impossible to separate us. Exposing the pathos and absurdity of our circumstances is the first symptom of maturity. A preamble to the act of moving forward.

Director statement

Russian poet Osip Mandelshtam once wrote: “Humans howl like wild beasts, / and wild beasts look like humans”. Individuals, like beasts, are made of fears and desires. Tundra is a film about these drives. About the frustration that leads to paralysis. I see Cuba as an immobile landscape: the desolate wasteland where nothing grows, where nothing ever happens. The country has taken on the physical aspect of our inner chaos, it stands as a vestigial zone, a post-disaster region. Here the catastrophe occurred silently at some point in the past. What came after is not a part of history.
This film delves into the ghostly aspect of the life in Cuba, usually driven by inertia and automatism. An existence full of physical and mental obstacles, where frustrated desires become entrenched and don’t allow us to move forward. Our main character lives with a monster that grows more and more, emulating the increase of his frustration. He doesn’t know how to get rid of the creature and has ended up accepting it. That is the Cubans’ reflex-response to their problems: resignation. Every individual in the city also has his monster, a metaphor for the cancer that sickens the whole island.
That existential weariness has also become the weariness of the forms. Cuban art, in general, is timid when it comes to deploying its aesthetic devices. It lacks risk and abounds in stereotypes to codify our (ir)reality. One of the main limitations is the insistence on realism as a straitjacket. I believe that realism doesn’t provide us with enough tools to reveal ourselves, that is why I rely on fantasy, science-fiction and the mixture of genres.
It’s necessary that Cuban cinema begins to capture the dark side of our reality. Becoming aware of our problems, our sufferings, is the first step in the construction of a better society, with active individuals in the mission of transforming it. It is necessary to annihilate the beast, but first assume that it is part of ourselves, that sometimes it is impossible to separate us. Exposing the pathos and absurdity of our circumstances is the first symptom of maturity. A preamble to the act of moving forward.