What fascinated me was the natural way in whichchildren and adults alike, in this community,viewed death. The idea was not to judge theseconcepts but to live these complexities andcontradictions with them, contradictions that notonly speak of them, but also of their communityand in some ways of Cuba itself.

A strong bond developed between Damarisand I. She told me intimate stories abouther son’s death because she wanted to andbecause, in a town where death is seen ascommon and natural, not many people hadasked her before.

The immediate question that arises whenDamaris and Alberto’s son, Ramon, took hislife so young was why? I didn’t want to tellthat story. I wanted to let the viewer makeup their own story of why they felt he didit; to involve the audience in my filmmakingprocess because those are the types of filmsI like to see. I wanted to lead the viewer onone path, and then to keep changing thedirection of their path throughout the courseof the film to reflect the constant surprises Ihad whilst filming this story.

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