The World Premiere and general release of the film “Bailando con Margot” (Dancing With Margot) could happen no other way and in no other place than in the cinema.

The film will be screened nationwide on Cuba’s premiere circuit in March as part of its director’s endeavors to create a genre film, for which he considers it necessary to be viewed and listened to at the cinema.

The World Premiere and general release of the film “Bailando con Margot” (Dancing With Margot) could happen no other way and in no other place than in the cinema.Even if today´s audiovisual offers tend to be enjoyed in the comfort of one’s home, the Cuban movie, “Bailando con Margot”, really does warrant being seen and heard in the unique surroundings of a traditional cinema.

Arturo Santana hopes the premiere will be a laudable and aesthetically attractive experience for viewers thanks to the influence of visuals and mysticism reminiscent of the first decades of the twentieth century and upon which he presents his story.

The plot of this film transcends various eras, but is primarily set following the theft of a valuable painting from the house of wealthy widow Margot de Zárate in Havana, on New Years Eve night, 1958.

With Margot as the femme fatale and on-scene investigator, many references to cine noir are made through seven structured fragments which include a first person narrative to establish its genre credentials.

Entered in the First Works category at the last Havana International Festival of New Latin American Cinema, the film is the fruition of an idea that stemmed from the context and that evolved from being about boxing to finally becoming a fusion of the neonoir, musical and sporting cinema genres.

In his dual role as both director and screenwriter, Arturo Santana, is insistent on his use of la Nouvelle vague, cine noir and Mexican 1940s and 50s-based cinematic references, the reason for which Bailando con Margot seems to repeatedly wink at cinematic history in an almost personal tribute that returns to cinema something it once gave away.

He told a press conference that this meant that he found it necessary to carefully modulate the tone of the crosses of genre and that he consequently preferred to let himself be guided by his adventurous characters in order to avoid overstated generic shifts.

The filmmaker also stressed that dramaturgical advice had been both inevitable and fundamental, obliging him to insistently revise texts, dialogues and entire sections of his script.

The actors themselves, Mirtha Ibarra, Edwin Fernández, Max Álvarez and Niu Ventura agreed that the visual and cultural innuendos had allowed each of them to take on their respective characters.

Edwin Fernández, in the role of a Humphrey Bogartlike private eye with Havana gangster undertones, emphasized the director’s trust in a cast that was venturing into feature length terrain for the very first time.

In addition to the production, the Bailando con Margot photography, visual effects and music emerge as great successes, thanks to the Rembert Egües contest that identified the script’s potential to traverse a range of genres.

The different eras made subtle suggestions to Egües ho went with danzon, bolero, mambo, jazz and foxtrot to create a musical score that would star as another ‘actor’ in the film as opposed to simple background music.

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