INVOLVED! MOVIELAB: "The Oceans Are the Real Continents"

On the 26th of March, the film "The Oceans Are the Real Continents" directed by Tommaso Santambrogio was featured as part of the "INVOLVED! MOVIELAB", a recurring event taking place in the prestigious House of The Human Safety Net. This cinematic initiative, coordinated by Professor Francesco Della Puppa, POLIS Social Hub Ca’ Foscari, and the association Baba Jaga, brings together a vibrant network of university student associations and citizens. Following the screening, the director Tommaso Santambrogio engaged in a conversation with Giulia Briccardi from “Rete Cinema in Laguna”, offering deeper insights into the film’s themes and creative journey.

The Director and the Plot

Tommaso Santambrogio is an artist and director with international experience, having worked in Cuba, Peru, and the Philippines, as well as in Italy. “The Oceans Are the Real Continents” represents his debut feature film, having premiered in highly regarded competitions such as the opening film of the “Giornate degli Autori” at the 80th Venice International Film Festival (2023).

The film, set in San Antonio de los Baños in Cuba, mainly revolves around the stories of a young couple of performers and lovers, Alex and Edith. The two collaborate and perform together, while maintaining their own dreams and ambitions about the future. Alex teaches theatre to children, while Edith is preparing a marionette show to be performed in Europe. Because of their different aspirations, the two are going to depart from each other, and the poetic black and white photography gently guides the audience through their process of acceptance, love, and separation. Alongside the young couple, Tommaso Santambrogio portrays the story of an old woman called Milagros, and two 8 year old children, Frank and Alain. Milagros’ husband died many decades before the events narrated, during the Carlota Operation in Angola. However, she is still waiting for him while reading the letters he sent her. Frank and Alain are friends and they spend their days exploring San Antonio de los Baños while playing, telling each other stories, and dreaming of emigrating together to the United States to become professional baseball players. In the meantime, the mother of one of the children is planning to emigrate, trying to convince her emotionally distant husband and to gather the necessary documents.

The story unfolds through the everyday experiences of the characters, capturing the essence of the island and its people—forever caught between the desire to leave and the longing to stay, the aspiration to explore new horizons, and the guilt of abandoning their homeland. The film concludes with a powerful yet peaceful scene at the San Antonio de los Baños station, where all the characters gather for different reasons. Edith is leaving for Europe, while Alex is there to bid her farewell. Milagros still waits for her husband, while Frank and Alain are at the station to watch the train and dream of a future that is not too far away.

Cuba and its Landscape: Between the “Carlota Operation” and the Migratory Phenomena

In The Oceans Are the Real Continents, Cuban history, the city of San Antonio de los Baños, and the island’s natural landscape play pivotal roles, becoming integral to the narrative. Director Tommaso Santambrogio has been familiar with Cuba since his childhood and he subsequently returned there many times, eventually studying filmmaking on the island. This allowed him to intimately and routinely engage with Cuban reality, and to deeply grasp the historical conditions that influence the daily life of Cuban people. San Antonio is a provincial inland city, where Cuban history arrives in a residual, distant manner, yet it completely permeates the place, echoing through the characters’ dreams and fears, the radio broadcasts, the walls of the town, and Ms. Milagros' cherished letters. The letters received from Ms. Milagros' husband refer to “Operación Carlota”, the codename for the military operation conducted by the Revolutionary Armed Forces of Cuba. Beginning in November 1975, this operation intervened in Angola to support the MPLA (Popular Movement for the Liberation of Angola). The MPLA advocated for a communist state in the newly formed African nation that emerged after the end of Portuguese colonialism. The intervention, which lasted until 1991, aimed to counter rival political movements backed by South Africa and the United States. It is likely that the husband of Ms. Milagros departed at a young age and died in this context, after sending her the gentle and heartbreaking letters that she keeps reading after so many years.

Furthermore, the film tackles one of the main contemporary issues of the island: migration. Forced by economic necessities, personal and working growth opportunities or even conscription, this process represents a challenge for the Cuban community, as it belongs to the past, the present and even the future of the country, just how it is depicted by the intergenerationality of the characters that are affected by this phenomenon in the film. This exodus can be interpreted as a possible upgrade in terms of opportunities but, on the other hand, it represents the heartbreaking separation from the loved ones. This ambivalence is present throughout the screening, offering a nuanced exploration of how leaving and staying both come with their own burdens and aspirations. The main adaptation of this theme is found in the opening scene. Edith and Alex are performing: one is standing on a wooden boat as Christ, and symbolically drifting away from the other along a river. The act inevitably represents the exodus from the mainland, entangling the narrative with the themes of exodus, spirituality, and nature.

In particular, the Cuban landscape and climate are considered characters by Tommaso Santambrogio, especially in relation to the urban spaces and the spiritual attitude of the actors. In fact, the urban and natural elements assist the actors and the director in conveying emotions and creating unique atmospheres. The landscape is therefore not seen as a mere aesthetic or ornamental element, but as an active participant. An emblematic example is the fact that the film was shot during the rainy season, when the rain punctuates the days and forcefully imposes itself in the lives of all the characters.

From Actors to Characters: A Collective Journey

Another peculiar side of the film that is worth mentioning is the creative process behind The Oceans Are the Real Continents, rooted in collaboration. According to Santambrogio, cinema is a collective art. So, even if he has a strong relationship with Cuba and knows the island well, he still needed help, support, and the advice of the Cuban people to portrait it properly. In order to do so, he actively involved the Cuban community throughout the filmmaking process, relying especially on the guidance, insight, and cultural sensibilities of the actors. In fact, the characters were developed through collective writing sessions, where each performer brought their own lived experiences to the roles.

For instance, Edith’s decision to leave Cuba for Europe mirrors the actress’s real-life journey. Similarly, Alex’s profound spiritual side stems from the actor’s upbringing as the son of a Babalawo (a priest). Working with the young actors presented a unique challenge, which Santambrogio addressed by conducting some creative workshops in which the children were encouraged to explore their own imaginations. At the same time, in order to portray their spontaneity and vitality in the best way possible, the adults played with them, trying to become children again. Through this inclusive and collaborative approach, The Oceans Are the Real Continents becomes a powerful and authentic portrayal of life on the island, emphasizing the profound connection between the characters and the real stories that inspired them.

The Oceans Are the Real Continents: Not our Last Appointment!

In conclusion, during the INVOLVED! MOVIELAB night, The Oceans Are the Real Continents enabled the audience to dive into a cinematic world that is characterised by moments of blissful joy and heartbreaking silences within the Cuban context. Love, separation and the quest for new horizons are balanced in a steady equilibrium in which departure is countered by resilience and a sense of belonging, striving regardless of all of the external pressure. We look forward to welcoming you back to The House of The Safety Net for more cinematic experiences of this caliber.