Capitalism now benefits from having successfully colonized much of the world, and I'd wager the vast majority of users on this site cannot even truly comprehend an alternative ideology outside of theoreticals (me included ofc). And unfortunately, this lack of alternative to capitalism doesn't seem to be considered an issue, or rather, its complete subjugation over the Western world that occupies every aspect of the thinkable is simply taken for granted, no longer worthy of comment. Not only are our every desires are already pre-formatted by capitalist culture, but even anti-capitalist thought has been commodified, pre-wrung through the capitalist wash and spat back out at us as a product to buy.Take Disney / Pixar's Wall-E. It's a film that undoubtedly frames consumerism and corporation as responsible for Earth's ruination. Humans in this world are completely infantilized and have every whim of theirs granted so as to preclude any rebellion. This is not subjugation as it's usually thought of as, but rather the form which invites us to participate in our own self-subjugation; we literally enthrall ourselves in every sense of the word, and it's no mistake that the movie's audience itself is what's reflected in these passive, satiated, and powerless humans. However, this is hardly an act of anti-capitalism that transcends its capitalistic bounds: the film performs our anti-capitalism for us and thus we engage in interpassivity. Unlike propaganda, capitalism does not have to make a case for itself. Instead, it merely has to trick us into believing that the capitalist process depends on a set of beliefs, such that if we don't believe in anything then we are able to not engage in capitalistic beliefs. This has resulted in a distancing of society from ideology, at least on the surface; many people no longer believe in, or take seriously, any ideological premise, and we believe ourselves to then inhabit a post-ideological world. However, ideology does not work this way. Ideology does not care what you think of ideology, it still remains the social reality that we surround ourselves in. It doesn't matter how much distance we put between ourselves and ideology, nor how cynical or ironic we treat it, we are still, and always will be, participating in ideology.By continuing to engage in this interpassivity, we allow ourselves to also continue to engage in capitalism so long as we believe that capitalism is bad. It then becomes harder and harder to differentiate corporate anti-capitalism from authentic anti-capitalism. So what can we do to truly challenge it? What do we do if anti-capitalism has been engulfed by capitalism, and gestural anti-capitalism ends up reinforcing the very thing it appears to critique? Capitalist realism must be shown to be inherently contradictory, that it is an ideology that is anything but 'realistic'.So let us discuss how the idea of 'realistic' has been itself warped by capitalist operations. An ideology can be considered successful when it becomes naturalized, and to be naturalized means to be thought of as a fact rather than as a value. Knowing this, neoliberalism has sought to then eliminate the notion of what a 'value' is such that capitalist ideology can be made into a fact: it does this by pushing a business ontology through which it is "simply obvious" that everything in society should be run as a business, by presenting it as a "natural order" such that what are mere contingencies appear as necessary. The proliferation of privatization since the 1980s would have been considered unthinkable before, and prominently it was the default crisis of NYC in 1975 that jumpstarted this movement. To anyone under the age of 50, try asking someone older what the political-economic landscape was like back then and if any of the current landscape would be thinkable to someone from 1975.This is how capitalist ideology tricks us into believing its reality is somehow 'natural' when it is anything but. This capitalist reality instead suppresses the Real, and one way to fight against capitalism is to uncover that Real. An easy one to point towards is climate change, a very-Real catastrophe that capitalism attempts to suppress by re-directing it back at us as problems you and I can change. By bringing our own grocery bags that we spent money on just to eliminate further waste, by making sure to separate our recycling bins to sort out the vast amount of unnecessary packaging our products come in, by brushing our teeth in the shower just so we can save the same amount of water it takes to grow a single almond, environmental responsibility is psychologically offloaded onto us even if Reality knows this couldn't be further from the truth. Capitalist realism presupposes that any problem can simply be solved by the market, that resources are infinite even if they aren't infinite on Earth and that we can simply expand, infinitely, so long as capital infinitely expands (again, a fantasy which Wall-E presents).But of course, this is all a lie, none of this is Real. It is no coincidence that there is a relationship between capitalism and economic disaster; capitalism, after all, has a need for a constantly expanding market which inherently contradicts any notion of Real sustainability. Neoliberal reforms cannot ever fix this problem, nor any of capitalism's problems, because neoliberalism serves to fuel capitalist realism. It may delay these issues, certainly, and try its hardest to reflect and rebrand and remarket these problems back onto us, and as a result we simply become used to it, this desensitization itself just another function for capitalist ideology.If you have somehow made it this far then 1) I appreciate you reading what is probably one of the longest reviews I'll ever write, hopefully which you understand due to the complex nature of the topic, and 2) you're probably wondering what any of this has to do with I Am Cuba. It seems like many of the reviews for this film bring up the fact that it is a 'propaganda piece' as nothing more than an empty topic of conversation before swerving into its technical merits as somehow 'making up' for said propaganda. This, I hope, is a perspective that by now should be obvious is informed via capitalist ideology which has tricked us into thinking that any other ideology must be flawed because it falls outside of capitalism's "natural order", and that we must maintain cynical distance from any form of sincerity because we have fooled ourselves into believing we exist as post-ideological beings.When, in fact, it is precisely those who exist outside of capitalist realism that are most-equipped to challenge capitalism, something which this film actually does: it opens with a monologue attributed to Christopher Columbus about how Cuba is beautiful, before showing us over the next two hours the ways in which colonial forces ravage the land. How can one make claims of beauty while also destroying that very beauty? How can we romanticize a country while also suppressing it? These are the contradictions inherent in capitalism's claims, the people behind I Am Cuba trying to show that to us and are actually able to believe in and envision a non-capitalist Real because they lived in a time when capitalism had not yet absorbed everything on the outside. Though certainly flawed, there were genuine alternatives to capitalist ideology in the 60s which had a tenable future, futures which Western, capitalist forces would sabotage at every opportunity of course, but futures nonetheless.This is a film which confronts capitalism yet doesn't allow us to mire in interpassivity, its goal not to trick us into performative activism but opts to completely embrace a wholly-separate ideology. We should not be saying "this is a propaganda piece, but...", rather, "this is an anti-capitalist propaganda piece, and..."...oh yeah, and the technical merits absolutely fuck.
Directed by Mikheil Kalatozishvili
I Am Cuba
Soy Cuba
An acclaimed, atmospheric drama.
Τέσσερις ιστορίες στην Κούβα του Μπατίστα, στην Κούβα που διψά για επανάσταση. Στην Αβάνα, η Μαρία νιώθει ντροπή όταν ένας άντρας που ενδιαφέρεται γι’ αυτήν ανακαλύπτει πώς η κοπέλα βγάζει το μεροκάματο. Ο Πέδρο, ένας γέρος αγρότης, μαθαίνει ότι η γη που καλλιεργεί πωλείται σε μια εταιρεία. Ένας φοιτητής αντιμετωπίζει ένα πλήθος αμερικανών ναυτών και αντικρίζει φίλους του να πυροβολούνται από αστυνομικούς, στην προσπάθειά τους να διανείμουν ένα φυλλάδιο για τον Κάστρο. Ο πόλεμος χτυπά την πόρτα των χωρικών Μαριάνο, Αμέλια και των τεσσάρων παιδιών τους, όταν οι δυνάμεις του Μπατίστα βομβαρδίζουν τους λόφους της περιοχής.
Where to watch
1Wednesday, 17 June
/ TodayCast & crew
6What people say
We're losing our shit for CGI long takes when this movie exists?
One day, they might tell stories like this about us. If we keep fighting, one day, they will look back and see only the distortions of us and our struggle, only the broad strokes, and they will be so enamored with our victories that they make something as alive and wondrous as this to celebrate us. The story will not be exactly the same. The tourists who steal treasures and callously dismiss the women they use would not be outsiders, not some foreigners on our soil, partying and unleashing their unabashed, clawing, taking ids. Those descended of European settlers are the invaders here. No revolution here can realize true communism unless that legacy is addressed somehow. But the landlords will be much the same. The bourgeoisie still take the fruits of our labor and leave us only the sweat we spilled. We might not live under actual feudalism, but the perspective of those who own what we build is the same: it's theirs simply because. Their reasons change, their justifications for their theft change (some), but they are still taking our labor from us. When someone tells our story, they will look back and see that we fought tooth and nail not just for the means of production, not just for what is rightfully ours, but at times--like now--merely for enough to live off of. They will marvel at how little we demanded at times; how little the parasites were willing to give. They will see how so many of us paid more than we could afford just to have a roof over our heads--because without that roof over our heads, we are exposed, starving, sick without any protection--and how we were preyed upon by predatory lenders, by lying contractors, by worse parasites when we tried to own even a tiny piece of this country. The farmer who burns his fields in protest will in America burn the vermin-infested hovels the landlords charge us our livelihoods for or the strip malls where they paid us pennies and told us to be grateful.They will see those of us who hesitated to fight. They will wonder how it took so long. They will count the dead black men and women shot by the police and wonder why America waited so long to fight back. They will read about the unjust, cruel wars America started in other parts of the world, where America destroyed nations, destroyed people, destroyed cultures just to sustain its degenerating economy, eking out another 10, 20 years with the blood of Iraqis, Syrians, Somalians, Libyans, or Koreans, to name a few, all justified through the veil of white supremacist lies. They will wonder why, since we saw through it, we did nothing. They will wonder why we let the fascists march in their hoods, guarded by the police, while they celebrated the worst of our past sins. They will wonder why we allowed a fifth of our children to live in poverty while they told us it was too expensive to give us healthcare. They will wonder why we hesitated, and they will dream it was because of our bleeding hearts, pausing over the trigger as the mercenaries had a quiet evening with their children (surrounded by the bounty they deny us, in excess) instead of the simple, unpleasant truth that we hesitated because we were too afraid to see through their lies. If we keep fighting, maybe, one day, they will make a film like this, where the camera swims through the crowds, watching the people from below, seeing their strength and beauty against a backdrop of greyscale clouds piling atop one another in fractal mountains, sweeping through the fields and reveling in the results of the worker's sweat and toil, swirling in the shattering black smoke of the bombs that bring darkness and pain, hovering above the flag-draped body of a man transmuted into a symbol and a rallying cry as the people march unified through the streets in one of the most magnificent shots ever, focusing in on faces hands bodies eyes in the dark and danger and blood, standing with the people in their struggle. If we keep fighting, we might win a future where the injustices we suffer now are seen through the lens of hindsight, through the lens of historical context, through the lens of our resistance and victory and international solidarity as this was applied to Cuba. Maybe we will think it's too sympathetic to the parasites. Maybe we will frown at the shallow depictions of the people. And maybe others will see it and be inspired by it all the same.
What is I Am Cuba about?+
The film documents the social unrest and revolutionary fervor in 1950s Cuba through four interconnected vignettes centered on different social classes.
Who directed I Am Cuba?+
Mikhail Kalatozov directed this 1964 film, a major figure in Soviet cinema known for his highly innovative and poetic visual style.
Has I Am Cuba won any awards?+
While it received mixed initial reactions, it has been widely recognized as a major work of 20th-century cinema following its rediscovery in the 1990s.











