- Regina and Mauricio's long voyage dates back to when and how they met and fell in love, in the Utopian Cuba of the 1980s. During the couple's journey, there is an allusion to the opposition of Regina's father, who decided to disown the union with a mulatto from a poor family. Despite the many prejudices and obstacles, Regina and Mauricio stayed together for more than 35 years.
- A TV movie supported by DOCTV and made for the Latin American circuit of local public television.
And if in the end, things only have to be felt? Mauricio Beltrán asks himself in a letter to his wife Regina, almost at the end of The Music of the Spheres. The letter is partially read by director Marcel Beltrán, whose voiceover accompanies the succinct remembrance of the odyssey undertaken by his parents, Mauricio and Regina, to uphold their union against wind and tide, to build a family, and to make life consist of something more than a succession of days and nights, for they always walked together in search of virtue and of ways of putting it into practice. Marcel not only reads some brief excerpts from the letters his parents sent to each other before he was born, he also follows them along a nostalgic return to their origins, in Moa (Holguin), San Luis (Santiago de Cuba) and Santa Clara (Villa Clara) where Mauricio and Regina reunite their families, revise the traces of a common past, that spreads and takes flight, like strange volutes of smoke carried by the wind.
The Journey The Music of the Spheres, exalts the love story of an interracial couple and the origin of the Beltrán-Fernández family; the portrait has fine and delicate strokes because Mauricio and Regina learned to live, the most difficult things, in silence. Perhaps, for this reason, the director and screenwriter, Marcel Beltrán, bets precisely on the silences, the implicit understandings, and the pauses, to tell the story of its protagonists and the origin of his family from a clear universal dimension and cosmic resonance.
The prejudices and intimacy of the family, as well as the subtle account of the miseries, stagnation, and disenchantment of a country, evolve into correlations of an album of remembrances and snapshots made from a serene and rare yearning for transcendence, which is quite exceptional in the contemporary Cuban cinema. Of course, our context is inhabited by plenty of observational, parsimonious and contemplative documentaries. But, furthermore, only this one dares to pull the strings of the emotion, to ask itself the meaning and the origin of everything and of all. Thus the questions whispered in the midst of the mists of remembrance are so meticulous and far-reaching.
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