A complex film both politically and psychologically. A bourgeois man decides to stay in post- revolutionary Cuba, even when his wife and family leave. He's detached and alienated from the revolution around him, from women, but also from his shallow, old materialistic existence.

The film uses lots of brave, experimental and sophisticated visual techniques (sudden cuts to still photos, super long lens shots, hand-held shots, intercutting news footage with staged), but almost all of it works towards making a fascinating whole. My only problem is that -- for me - - the experience is almost totally an intellectual one. I had very little emotional response during most of the film, although the last section, with the Cuban Missile Crisis looming has some real power.

Note that most critics I respect see this as a flat out masterpiece, so I could have missed something, and would be willing to give it a second look.

"Memorias del Subdesarrollo" (1968) is an extremely interesting Cuban film about an aspiring bourgeois writer named Sergio. His wife leaves him for a more secure life in the States, as do many of his friends and neighbors. But Sergio remains in Cuba, all the while detesting his "underdeveloped" countrymen. His interior monologue throughout the film details the numerous ways in which the people who surround him, and his new girlfriend, are all underdeveloped mentally, emotionally, and spiritually, but we soon realize that it is the smooth-talking Sergio who is guilty of underdevelopment. Perhaps his inability to leave the mediocrity of Cuba is rooted in his need to have others to look down upon. Intermixed with his observations is a visit he takes to Hemingway's retreat in which he contemplates the novelist's colonialism--yet we can't but wonder if his observations are tainted by his underdevelopment. Further, the Cuban missile crisis happens at this time, and Sergio must also deal with a rape charge. A challenging film.

There are some great comments and facts here about this gem and I'll try not to repeat them. Alea presents a realistic, fascinating, and believable dramatization of the moral and political quagmire set in the early-Castro era through the POV of an apathetic bourgeois. The story delves into the inner psyche of Sergio, a lonely eccentric and sets out to illustrate its impact during the alienation on every level intertwined by transitioning culture at that time. He gets caught up in a relationship with Elena, their happiness seems perfect.

Alea elaborates this predictable story in which, from the beginning, the idea is built that something does not fully agree with what Sergio think will happen. The narration submerges you in the timeline and slowly seams things together in a brilliant and subtle way. I have always enjoyed this film minute by minute, the upheavals and the disappoints that happens to break the character mentally. The film is shot in semi-documentary style which is one of the highlights as it pushes the narrative with no room for spoon-fed character development. Even with limited emphasis on traditional storytelling the film carries emotional impact with solid acting effort throughout the runtime. Some may look at it from the view of art-house documentary with newsreel footage of the Cuban Revolution dressed up as a political drama, but it is more than that. Also, I will recommend Stefan Uher's The Sun in a Net (1963), Halina Bielinska's Sam posród miasta (1965), Paulo César Saraceni The Dare (1966), The Vampires of Poverty (1977), The Man Who Sleeps (1974) and Ice (1970). If you haven't seen it, I would suggest you do add it in your watch list.

To conclude Memorias del subdesarrollo (1968) is simply a brilliant character analysis, also a cleverly constructed political drama realised in a time where the facts truly are in your face.