But there’re other ways in which he has stood for human rights. One of them is the rescue of his country’s cultural heritage against the Cuban government’s efforts to replace it with its own fraudulent version. As one of the most famous and beloved members of the much misunderstood Miami community, one that is as pluralistic, tolerant, free spirited, and jovial as any in the United States, even if it does have its share of crazies—and I’ve lived there—Andy Garcia has paid homage to his fatherland’s artistic legacy in movies such as Cachao: Like His Rhythm There Is No Other, a tribute to legendary Mambo composer Israel Cachao López, that marks his directorial debut; or For Love of Country: The Arturo Sandoval Story, the tale of the acclaimed jazz musician who fled Cuba in order to pursue his career—a movie whose score and soundtrack he also produced. His record label has put out outstanding Cuban music, some of which he performs himself.
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The movie, The Lost City, I looked at as a movie that had all the classical elements of all the great films that I grew up with: a time of dramatic historical transition, music, dance, conflicts within a family, impossible love as a central metaphor—you can love her but you can’t be with her. And these are the makings of movies like Dr. Zhivago, and a lot of the great movies. But for some reason, my movie became sort of like the most difficult thing for anybody to embrace. For 16 years, not one studio in the United States would embrace the idea of giving any money to distribute the movie. Even at the peak of whatever popularity I had been able to achieve in my life—at the peak of that, with actors like Robert Duvall, Dustin Hoffman and everybody supporting me in the movie—they would not support it. I made the movie independently with the help of private equity—by the way, Mr. Bowes, I will be approaching you for some. If you want some venture capital, I got an idea for you, and you will have the great—I don’t know if it’ll be the privilege—but you’ll have the honor of being the only person that would be interested in the movie.
Because of the demand, you were able to—if people want to see the movie—keep screening it, and we ended up having to show the movie six times. Every major distributor in the American film business in here was there, but no one bought the film. There wasn’t one Cuban at the festival; oh, there were about 10 Cubans, the members of my cast who went, but other than that it was an American cinephile audience—mostly, I would say, liberal. Everybody loved the movie, but yet no distributor would jump on the film. One woman from Magnolia Pictures who was in their HD network saw it and says, “I love this movie.” I went to our Cuban and his company, and there was only the little bite that came out of the festival, and slowly we pursued. It was the only distributor that was willing to stand behind the film. 2ff7e9595c
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