Nosotros, la musica is a spectacle for the senses, not only because of its explosion of rhythms and footage of so many artists. At times, it conveys the sensation of being dragged to a dance and even to smell the sweat of those swept into a comparsa. For everyone participating, it was a baptism of fire. No Criollo critic or foreigner foresaw its transcendence at the premiere. How Rogelio París managed to select the most representative living exponents of Cuban music's rich catalogue continues to be an mystery. The Cuban Cinematheque rediscovered it almost four decades later. Let's enjoy the inimitable style of Bola de Nieve and that Celeste Mendoza, whose guaguancó takes over that lot in Havana.
Film Critic, Researcher and Director of Cuban Cinemateca.
- International Festival of New Latin American Cinema - Palomas Award (2002)
He studied at the Escuela Profesional de Publicidad and directed drama and music programs for television. In 1964 he started working at the ICAIC as a documentary director, the first of which was, Nosotros, la música. After this film, he directed documentaries such as Los hombres de Renté, Posición Uno, El segundo Turiguanó, Tiempo de hombres, Testimonio and Del Escambray, el campesino. He filmed the documentary feature films: No tenemos derecho a esperar (1972), La batalla del Jigüe (1976), Algo más que una medalla (1982), Canto a la vida (1983) and La huella del hombre (1985). His vast filmography includes fiction work: Patty-Candela (1976), Leyenda (1981), co-directed with Jorge Fraga, Caravana (1990), in collaboration with Julio César Rodríguez and Kangamba (2008). He taught at the Art School of Audiovisual Media at the Instituto Superior de Arte, where he was named University Professor.