“Dos ríos” (Two Rivers) takes its name from the geographical spot where José Martí was killed in battle during the Cuban War of Liberation from Spain, which he was instrumental in organizing. over the twentieth century and because of his nationalist philosophy, Marti has become a highly respected, almost revered icon in both, communist Cuba as well as in Miami's "Cuban community in exile."

in 1999 I was invited to the Havana International Film Festival in Cuba to show one of my films as part of an international delegation of films including my alma mater, New York University, which was to attend the event for the first time. After much debate with my parents, I decided to make the trip and, just as I marbled at the opportunity to be a goodwill ambassador of sorts for my homeland, the rift between the United States and Cuba gaped open once again by the Elián González case, which became a historical event in both countries. by a twist of fate, I was able to be present in both: the first, large demonstration in Havana (in front of the former U.S. Interest Section building) and in Miami, while the “Cuban community in exile” kept vigil outside Elián’s house the night that he was to be taken into custody by the F.B.I.

“Dos ríos” draws the parallels of both of these events, but it only compares raw footage, rather than constructing individual scenes in the traditional sense. the juxtaposition of both visual and aural raw elements is meant to force the viewer to “take sides” by literally having to walk up to the speaker on either side of the room in order to make out the different arguments which attempt to overwhelm each other in discord.

“Dos ríos” attempts to externalize the raw and overwhelming feeling of being caught in the center of a fervent ideological war. One that forces one to take sides and, sadly, alienates.

Transcript is available upon request.