LKazan

Hello! An automatic corrector keeps modifying my original text, creating a real nonsense; hence the following modification, withnhopes that it will appear unaltered:

The film proceeds in a deliberately disjointed manner, slowly revealing the human aspects as well as complex ramifications in the Cuban diaspora in Miami, as revealed through two women for long held in ignorance, and especially through the character interpreted by Penelope Cruz, remarkable in her constrained sensitivity. That story is widely documented, for anyone being genuinely interested in knowing the truth, including the fact that the Cuban air force had indeed deliberately shot down two planes from the "Brothers to the Rescue association" whilst they were back in international space. Also widely documented is the central role of the abominable master-terrorist Luis Posada Carriles, acting as the armed right-hand man of the Cuban-American National Foundation (CANF), led by Jorge Mas Canosa and Alberto Hernandez. The very Posada Carriles, having been for a decade involved in illegal operations of the CIA, from Irangate to the Contras; furthermore involved, with Pinochet's DINA and other anti-Castrists Cubans, in the attack on former Chilean minister Orlando Letelier and the explosion of commercial "Flight 455 Cubana" in 1976. In a subsequent interview published by the New York Times, he also acknowledged the fact of being the organizer of the series of bombing in numerous Havana hotels in the nineties. The fact that such a character did so often and for so long benefit from the complicity (i.e. his escape during trial in Venezuela) of the CIA, as well as the protection of the U.S. diplomatic, political and judiciary apparatus remains a historical question. As to the "Cuban Five", the evidences are that they were neither granted a fair trial, in violation of U.S. rules of procedures and constitutional rights, nor proper conditions of detention. To the extent that the United Nations Commission on Human Rights was led to adopting a report stating the following: "it arises from the facts and circumstances in which the trial took place and from the nature of the charges and the harsh sentences handed down to the accused that the trial did not take place in the climate of objectivity and impartiality that is required in order to conform to the standards of a fair trial as defined in article 14 of the International Covenant on Civil and Political Rights, to which the United States of America is a party."

An appealing cast, yet not Gérard Depardieu at his best; who could blame him for delivering here the impression that he is bored? Vincent Lacoste is given such an insignificant role that we might as well have done without him. Andréa Ferréol shows up in a pleasant sequence, yet so very shortly. Solène Rigot, soon forgotten, gives a glimpse that she is really worth a much better part. Benoît Poelvoorde's eccentric and yet very human figure is the only one to stand up (so to speak) throughout a poor script leaving such a feeling of bad taste and totally missed opportunities: the theme of father and son, the problems facing the agricultural world – such a basic aspect of public health –, not to mention the wine-producing tradition as a deep part of French culture...