Produced by Robert Redford, the state-financed Cuban film Strawberry and Chocolate, is a look into the unique relationship between David (Vladimir Cruz), a young heterosexual Communist, and Diego (Jorge Perugorria), an older, homosexual intellectual. Set in 1979 in Havana, it explores the politics and changing social views surrounding homosexuality.
David and Diego meet while eating chocolate and strawberry ice cream. This is how David knows Diego is a homosexual, because he chooses strawberry ice cream instead of chocolate. Diego convinces David to go home with him, and because David is curious about Diego's political affiliation, the two form a platonic, intellectual friendship. The film explores the progression of David and Diego's relationship, playing particularly on the role of sexuality and politics in a light and humorous fashion.
The role of sexuality in Cuba is strongly related to the incredibly successful, positive reception this film earned there. Cuban politics used to proclaim intense disapproval of homosexuals. Gays were thought to be deviant anti-revolutionaries and were consistently expelled from the Communist Party. Yet recently, a dramatic shift in attitudes toward homosexuals has occurred. Fidel Castro has publicly announced that he does not view homosexuality as a degenerate phenomenon and that it is a natural human tendency that must be respected. This new outlook has caused many Cubans to come out of the closet and has led to better treatment from their comrades.
In light of this recent acceptance of homosexuality and re-evaluation of sexual ethics, Strawberry and Chocolate is particularly timely. Over the course of the movie, David gradually alters his view of Diego; he stops calling him "the faggot," begins to respect and admire him, and even extends the ultimate gesture of friendship by hugging him.
David takes a somewhat twisted view of Diego's homosexuality and even chastises him gently, declaring, "It was your parents' fault. They should have taken you to the doctor since it's a problem in your glands." Diego responds by explaining how natural homosexuality is, how long it has existed, and how many famous men have been gay. This seems like an overt attempt to enlighten the public further on the new Cuban acceptance of gays.
The film's depiction of homosexuality also plays off of Cuba's politics. David is a revolutionary Communist. At first he thinks Diego is an anti-revolutionary. But, as the two get to know each other, David realizes that although Diego is a revolutionary at heart, social conventions in Cuba make it difficult for homosexuals to join the movement. Diego constantly struggles with and condemns Cuban society for not allowing him to call out to other men on the street without them saying, "He's sick." In one moving scene, Diego admits his frustration with the system. He tells David he feels he should leave the country, since he only has one life to live and wants to be able to feel uninhibited about being who he is.
Issues surrounding women and heterosexuality also present themselves in this movie. The movie opens with two nude sexual encounters between two couples. Later on, Nancy (Mirtha Ibarra), Diego's "vigilante" neighbor, offers to "initiate" David. These scenes are performed in a playful manner with Nancy constantly talking to religious relics scattered throughout her house, praying not to let her "screw up." Right before her affair with David, she leans over a sculpture of the Virgin and says, "Sweet Virgin, please give me control over myself. And don't tell your friend downstairs," referring to the Virgin in her apartment. The acting in this movie is exceptional. Jorge Perugorria gives the strongest performance, with several extremely emotional scenes. He easily evokes laughter and is quite convincing in his role. Vladimir Cruz gives a decent performance as well but has more trouble with varied emotions. His attempts to start crying in emotional scenes seem juvenile and unbelievable. Mirtha Ibarra plays the eccentric, religious neighbor quite well, making us laugh at something as morbid as her five suicide attempts.
Although Strawberry and Chocolate tackles some very weighty issues, its ability not to let them dominate the film gives it an extremely palatable flavor.
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