Tomás Gutiérrez Alea Net Worth

Complete Wiki Biography of Tomás Gutiérrez Alea, which contains net worth and salary earnings in 2019. Tomás Gutiérrez Alea body measurments, height, weight and age details. Tomás Gutiérrez Alea wiki ionformation include family relationships: spouse or partner (wife or husband); siblings; childen/kids; parents life. Wiki Bio of Tomás Gutiérrez Alea net worth is updated in 2019.

Tomás Gutiérrez Alea Net Worth is
$1.9 Million

Mini Biography

Cuba’s greatest and best-known movie director, Tomas Gutierrez Alea fell deeply in love with cinema young, began like a documentarian much influenced by Italian neorealism and arrived to his own while an designer during Fidel Castro’s program. Over time he offers evinced a fondness for both historic and modern fables, invariably politically directed and satirical, their plane tickets into absurdity displaying the impact of Luis Buñuel. An ardent supporter from the trend that rid the united states from the despotic Fulgencio Batista and brought Castro to power, Alea offers painted a far more complicated family portrait of Cuba in his movie theater than the remaining world offers generally been ready to conceive. The documentary impulse offers remained, yet it really is used to continuously scrutinize modern Cuba. Certainly, Alea offers produced some gutsy critiques from the socioeconomic and politics realities of his property, as he ponders the persistence of the petty-bourgeois mentality inside a culture supposedly focused on the plight from the working poor. Born to a reasonably well-off family members, Alea was delivered to university in Havana to check out in his father’s footsteps and be an attorney. At a comparable time he inserted college, though, he obtained an 8mm camcorder and produced two short movies, Un faquir (1947) and La caperucita roja (1947). Many years afterwards he collaborated with fellow pupil (and upcoming film great) Néstor Almendros on a brief adaptation of the Franz Kafka tale they called Una confusión cotidiana (1950). Upon graduation, Alea journeyed to Italy to review film directing for just two years through the crest of neorealism on the famed Centro Sperimentale de Cinematografia. He came back to Cuba in 1953 and became a member of the radical “Nuestro Tiempo” ethnic society, becoming mixed up in film section, functioning being a publicist and aligning himself with Castro’s fight the Batista routine. In 1955 Alea co-directed, with fellow culture member ‘Julio Garcia Espinosa’, the 16mm brief Un mégano (1955), a semi-documentary about exploited employees, acted by non-professionals through the locales where it had been shot. The film was seized by Batista’s magic formula police due to its political content. Immediately after the Cuban trend in 1959, Alea co-founded (with Santiago Álvarez) the country wide groundbreaking film institute ICAIC (“Instituto del Arte con Industria Cinematografica”). He quickly produced a documentary, Esta tierra nuestra (1959), filled with wish for the brand new government’s intend to help the indegent through agrarian reform, and offers continued to be a pillar of the business since. Alea’s different creative personality provides led him to test out a broad selection of designs and designs. His initial feature, Historias de la revolución (1960), uses a neorealist design to present 3 dramatic sketches depicting the armed insurrection against Batista. Alea’s fairly straightforward method of film style, nevertheless, would change, changed not merely through his appropriation of Hollywood and artwork movie theater stylistics but also by his more and more personal tries at self-expression. A Cuban FIGHT Demons (1972), the film which he initial caused regular cinematographer Mario García Joya, results in as the prelude to an interval Alea has referred to as filled with personal and creative instability as very much as it will an intense allegorical family portrait of chapel and state problem. The director’s later on Cartas del parque (1989) is definitely more of the twilight work, discovering the passionate period piece like a scribe matches a varied cross-section of culture via his skills at letter composing. The best possible of Alea’s historical films, THE FINAL Supper (1976), continued to highlight his versatility, sketching on Afro-Cuban music motifs as well as the literary design of magic realism to recreate an 18th-century slave revolt. Alea in addition has made many satiric comedies that explore the legacy of bourgeois culture in post-revolutionary Cuba. The madcap experience Todas las doce sillas (1962), an account also informed by Russian filmmakers and by Mel Brooks, satirizes greed and bureaucracy being a lingering post-revolutionary bourgeois, his roguish manservant and a corrupt priest search for a seat concealing priceless diamond jewelry. The Hollywoodian dark humor La muerte de un burócrata (1966) cites not merely Buñuel but also Mack Sennett and Stan Laurel and Oliver Hardy since it criticizes, at an early on point in the Castro regime, the administrative muck from the political system (Alea reused the gallows humor from the bureaucracy linked to burying a corpse for his street picture Guantanamera (1995), which started to appear at festivals in 1995 and 1996). In Los sobrevivientes (1979) an aristocratic family members devolves from civilization to savagery; utilizing a metaphor within many movies from poor countries, the family members resorts to cannibalism in attempting to stay isolated from your Revolution. The tensions and strains of the revolutionary society had been explored in a number of dramatic works occur contemporary Cuba, included in this Remembrances of Underdevelopment (1968) and Hasta cierto punto (1983). “Remembrances”, Alea’s masterpiece and probably the best-known Cuban film available, brilliantly mixes documentary and play to create an exceptionally witty yet delicate portrait of the restless, oversexed, politically uncommitted intellectual as he meanders through the first times of the Trend. The last mentioned film is, in a few methods, a continuation from the previous, as documentary filmmakers try to look at lingering machismo among dockworkers, ultimately discovering which the Revolution’s goals for adjustments in consciousness have got succeeded just “up to certain stage.” Alea returned just as before towards the nexus between your sexual as well as the political using the best-known Cuban film from the 1990s, Strawberry and Chocolates (1993). The storyplot of the uncommon friendship that builds up between a naive believer in Castro’s modern edition of communism and a far more experienced, homosexual critic from the program was broadly praised and as broadly attacked. Some discovered it atypically soft for Alea and read its homosexual lead being a cover-up of Castro’s horrifying treatment of homosexuals, while some believed it needlessly provocative in its characterizations; such divergent replies only testify towards the intricacy usual of Alea’s tapestries. In 1994, “Strawberry and Delicious chocolate” became the initial Cuban film to get an Oscar nomination as Greatest Foreign Film. Alea provides created or co-scripted all his features and, relative to ICAIC’s collective method of filmmaking, has offered as consultant on two from the institute’s most stylistically innovative movies: Un otro Francisco (1974), aimed by Sergio Giral, and De cierta manera (1977), aimed by Sara Gomez. Alea continues to be less dynamic in filmmaking in the 1980s and 1990s, and Juan Carlos Tabio offers co-directed many of the ageing master’s recent movies. He offers, though, created a publication of film theory, “Dialectica del espectador (1982)”, and continuing to inspire a fresh generation of advanced and politically dedicated artists.

Known for movies

1Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 14-20. New York: The H.W. Wilson Company, 1988.
2Retrospective at the Kerala International Film Festival, India. [2001]
3Education: University of Havana (law); Centro Sperimentale di Cinematografia, Rome.


Strawberry and Chocolate1993
Contigo en la distancia1991Short
Con el amor no se juega1991
Cartas del parque1989
Hasta cierto punto1983
Los sobrevivientes1979
La sexta parte del mundo1977Documentary
The Last Supper1976
El camino de la mirra y el incienso1975Documentary
El arte del tabaco1974
A Cuban Fight Against Demons1972
Memories of Underdevelopment1968
La muerte de un burócrata1966
Las doce sillas1962as Tomás G. Alea
Muerte al invasor1962Documentary short
Asamblea general1960Documentary short
Historias de la revolución1960
Esta tierra nuestra1959Documentary
El mégano1955Documentary short
Il sogno de Giovanni Bassain1953Short
Una confusión cotidiana1950Short
El faquir1947
La caperucita roja1947


Strawberry and Chocolate1993collaboration - as T.G. Alea
Cartas del parque1989writer
Hasta cierto punto1983screenplay / story
Aquella larga noche...1979writer
Los sobrevivientes1979screenplay / story
De cierta manera1977writer
The Last Supper1976screenplay
El otro Francisco1974
A Cuban Fight Against Demons1972screenplay / story
Memories of Underdevelopment1968writer
La muerte de un burócrata1966story
Las doce sillas1962screenplay - as Tomás G. Alea
Historias de la revolución1960screenplay / story
Esta tierra nuestra1959Documentary screenplay / story
Il sogno de Giovanni Bassain1953Short writer
Una confusión cotidiana1950Short screenplay


Muerte al invasor1962Documentary short
Esta tierra nuestra1959Documentary


Lista de espera2000dedicatee - as Titon
Un señor muy viejo con unas alas enormes1988special thanks


Rocha que Voa2002DocumentaryHimself
Lo + plus1995TV SeriesHimself
Oscars 19951995TV MovieHimself
Tal cual1994TV SeriesHimself
Memories of Underdevelopment1968Himself

Archive Footage

Titón, de la Habana a Guantanamera2008DocumentaryHimself
Soy Cuba, O Mamute Siberiano2005DocumentaryHimself

Won Awards

1996CEC AwardCinema Writers Circle Awards, SpainBest Screenplay, Original (Mejor Guión Original)Guantanamera (1995)
1996Jury AwardFt. Lauderdale International Film FestivalBest Foreign FilmGuantanamera (1995)
1996Golden KikitoGramado Film FestivalLatin Competition: Best Film (Competição Latino: Melhor Filme)Guantanamera (1995)
1996Kikito Critics PrizeGramado Film FestivalLatin Competition (Competição Latino)Guantanamera (1995)
1996Latin America Cinema Award - Honorable MentionSundance Film FestivalGuantanamera (1995)
1995Silver CondorArgentinean Film Critics Association AwardsBest Foreign Film (Mejor Película Extranjera)Fresa y chocolate (1993)
1995Grand Coral - Second PrizeHavana Film FestivalGuantanamera (1995)
1995Honorary AwardHavana Film Festival
1995Premio ACEPremios ACECinema - Best DirectorFresa y chocolate (1993)
1995Honorable MentionSundance Film FestivalLatin American CinemaFresa y chocolate (1993)
1994Silver Berlin BearBerlin International Film FestivalSpecial Jury PrizeFresa y chocolate (1993)
1994TeddyBerlin International Film FestivalBest Feature FilmFresa y chocolate (1993)
1994Golden KikitoGramado Film FestivalBest Latin Film (Melhor Filme)Fresa y chocolate (1993)
1994Audience AwardGramado Film FestivalFresa y chocolate (1993)
1994Kikito Critics PrizeGramado Film FestivalFresa y chocolate (1993)
1993Grand Coral - First PrizeHavana Film FestivalFresa y chocolate (1993)
1993Best DirectorHavana Film FestivalFresa y chocolate (1993)
1993Audience AwardHavana Film FestivalFresa y chocolate (1993)
1993FIPRESCI PrizeHavana Film FestivalFresa y chocolate (1993)
1993OCIC AwardHavana Film FestivalFresa y chocolate (1993)
1993ARCI-NOVA AwardHavana Film FestivalFresa y chocolate (1993)
1985Bronze AwardDamascus Film FestivalHasta cierto punto (1983)
1983Grand Coral - First PrizeHavana Film FestivalHasta cierto punto (1983)
1982Grand Coral - First PrizeHavana Film FestivalTiempo de revancha (1981)
1981Golden AwardDamascus Film FestivalLos sobrevivientes (1979)
1978Audience AwardSão Paulo International Film FestivalBest FeatureLa última cena (1976)
1976Golden ColonHuelva Latin American Film FestivalLa última cena (1976)
1970FIPRESCI PrizeKarlovy Vary International Film FestivalMemorias del subdesarrollo (1968)
1970Don Quijote AwardKarlovy Vary International Film FestivalMemorias del subdesarrollo (1968)
1966Special Prize of the JuryKarlovy Vary International Film FestivalLa muerte de un burócrata (1966)
1961Union of Writers of the URSS AwardMoscow International Film FestivalHistorias de la revolución (1960)

Nominated Awards

1995Golden LionVenice Film FestivalGuantanamera (1995)
1994Golden Berlin BearBerlin International Film FestivalFresa y chocolate (1993)
1979Palme d'OrCannes Film FestivalLos sobrevivientes (1979)
1961Grand PrixMoscow International Film FestivalHistorias de la revolución (1960)


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