La ultima cena (1976)

Directed by: Tomas Gutierrez Alea | 120 minutes | drama | Actors: Nelson Villagra, Silvano Rey, Luis Alberto García, José Rodríguez, Samuel Claxton, Tomás Gutiérrez Alea, Lamberto García, Mario Balmaseda, Mario Acea, Francisco Borroto, Andrés Cortina, José Díaz, Leandro M. Espinosa, Julio Hernández, Mirta Ibarra Tito Junco, Elio Mesa, Alfredo O’Farril, Peki Perez, Manuel Puig, Luis Salvador Romero, Idelfonso Tamayo

Cuban director Alea (1928-1996) has always been a committed director. All of his films portray Cuban society, and the tone is often sympathetic to the Castro Revolution, although a critical undertone is never far away. He has always had an eye for the positive and negative consequences of the revolution for the common man. ‘La Última Cena’ is not about the Cuban revolution, nor does it contain any direct references to Fidel Castro’s socialist ideals. However, ‘La Última Cena’ is again a very committed film in which the theme of ‘freedom’ is central, and in which, remarkably enough, much space is given to religion.

The film is set in Easter week and especially the count, a very religious man, gradually comes to see himself and the events as events that run parallel to the Easter story of supper, betrayal, death and resurrection. ‘La Última Cena’ is divided into three parts: the first part in which the count arrives at his country house around which his slaves work. This section introduces the main characters: the count, his slave driver, and the slaves. In addition, there are a few other characters, including the priest, who is constantly caught between two fires and visibly struggles with the combination of servitude to the count and solidarity for the slaves. This part is not particularly strong. At least 30 years after its creation, the film comes across as very dated.

The second part is the main part: the evening meal that the count holds with twelve slaves. The conversations that take place here are superbly portrayed by the actors and are about everything that is important: freedom, truth, lies and religion. In a subtle way, almost all slaves are discussed, and each give its own interpretation to the opportunity to point out their miserable existence to the count. One does not mince words, the other carefully weighs his words and tries to win the favor of the Earl, a third spits straight in the Earl’s face. In the meantime, they marvel at the Burgundian meal and every slave deals with it differently. One is full, the other mistrusts everything. While at the beginning of the meal the count still carefully conducts the conversations and explains his vision of slavery and equality, the tone gradually becomes more and more uncontrolled and lofty, with the amply flowing wine as the main fuel.

It is subtly shown how everyone present constantly balances between extremes: two completely different worlds meet. The oppressed talk to the oppressor and do not know whether to rebel or be submissive. The confusion only increases when the oppressor falls asleep drunk too… After this impressive part, which takes up most of the film, the third part naturally follows. On Good Friday, the count has already left and Don Manuel, the slave driver, can once again take control. The slaves who thought they had obtained the right to a day off from the count, see their freedom disappear like snow in the sun again. The consequences are incalculable, for all parties. It is a somewhat predictable ending, although this ending is stronger than the introductory first part. By far the most impressive, however, is the core part of ‘La Última Cena’, when the meal is held, and an impressive game is played beautifully and on all kinds of levels. A high stakes game: the discovery of ‘true freedom’.