Summary

Less than a month after Simone Rapisarda Casanova completed shooting in Juan Antonio, a village on Cuba’s North Eastern coast, the place was wiped out by a hurricane. Thus El árbol de las fresas begins with four of the now displaced former inhabitants reminiscing about their home and what they have lost. Eschewing drama and pathos, the opening sets the tone for what is an unusual documentary; the subjects often address the camera directly and even tease the filmmaker. In doing so they disrupt the usual relationship between viewer and subject in a playful way that allows both the viewer and the viewed to share equally in the filmmaking process.