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ccazanasfilm
Her filmmaking style is informed by personal and social issues. Themes like immigration, identity, professional fulfillment and others are part of her work. Her most remarkable film as a director- Natural Selection (2016)- deals with animal abuse in Cuba, a still pending issue in her nation. Her latest documentary Fábrica de Arte Américas (2023) highlights the Biennial of the Americas's journey in bringing a major interdisciplinary creative lab of contemporary from Havana to Denver, uniting cultures and igniting creativity at the Cities Summit of the Américas.
As a cinematographer for the short film La Huida (2018), Cynthia ventured into stop-motion animation. La Huida- which combines puppet and cutout animation- allowed her to experiment with silhouette animation, inspired by Lotte Reiniger's work.
Cynthia's work has screened in PBS, Chicago International Indie Film Festival, Seattle Latino Film Festival, Washington; Anima Latina IV, Buenos Aires; Encounter Film Festival in Bristol, U.K; New Latin American Film Festival in Havana and the LA CineFest in California.
Ratings
Most Recently Rated
Reviews
Publish or Perish (2023)
One of a kind, a hilarious dark comedy
If I could give 100 stars to this movie I would. The story is so unique. Not very often you see a movie about the protocols in academia. Even through some audiences won't know about the specifics because they haven't lived it, it still relatable to everyone. The movie is funny in the way things are spoken about and how the storytelling develops. The directing is magnificent. The cinematography, editing and actors work is exceptional. I recommend it to people who enjoy dark comedies that are well structured. I fully connected with the story and the characters in a very special way. And believe me when I say I am very critical of movies. This film is one of a kind! Well done to the production team!
Eternal Sunshine of the Spotless Mind (2004)
A master piece!
Eternal Sunshine of the Spotless Mind seems to be told in a careless way, with a certain documentary effect, similar to the French Nouvelle Vague from the 50's.
The use of low-key lighting is very noticeable with minimal use of artificial light, abrupt cuts and disordered timing. The presence of the camera has a well-marked purpose. Becoming the eyes of the spectator, the hand-held camera takes us though each scene and makes us part of the plot.
No attempt is made to make the photography 'beautiful' or appealing. In fact, by making the surroundings look monotonous, an atmosphere of extreme tension is created. This is enhanced by the frequent use of sepia tones and grays, emphasizing the character's depressed state of mind. In this way, when cold tonalities are used, accompanied by extreme long shots, the stature of the character is diminished and minimized, especially when placed into a usually deserted and monochromatic background.
In terms of montage, the story is told in a non-chronological way, using flashbacks and flashforwards. The montage seems to be experimental. The abrupt cuts in single scenes, serve to make the editing appear more accidental and spontaneous. The acceleration of time, the quick combination of shots and the introduction of absurd elements, characterize the oneiric scenes and manages to create a surrealistic atmosphere.