Carlos Quintela

Carlos Quintela’s voracious creative spirit can be traced back decades, even being cast as a child in Miguel Coyula’s “Válvula de luz” (1997). As a filmmaker, he has directed a myriad of films and shorts, winning various awards and accolades. This includes works such as “The Swimming Pool,” (2012) “The Project of the Century,” (2015), and “The Wolves of the East” (2017), all of which explore contemporary politics and Cuban life in different ways. 

In terms of his influences, Carlos cites American celebrities such as Emma Stone for her work on “The Curse” and Donald Glover for his music in “Atlanta,” but also praises those who remain constant pillars of inspiration in his life: “My partner, filmmaker, and artist Heidi Hassan, my family, my friends who believe in my adventures, as well as pioneers from any corner of the world who carve their own paths.” His artistic influences are constantly evolving, coming, and going, but all of them leave their mark on the way he reflects upon his experience in and outside of Cuba. 

In 2015 he released his film, “The Project of the Century,” which was highly critical of the Cuban government. State-controlled media immediately published pieces attacking Carlos’ character and the film, among other forms of harassment. Eventually, Carlos found himself in Spain, where he decided to remain, fearful of possible reprisals should he try to return to the island. “I left Cuba because dictatorships must be left behind, and the ‘very real fiction’ of the country overshadowed the refuge that art holds,” said Carlos.

Now living in Madrid, Carlos’ work explores Cuba outside of the context of the island, focusing on the Cuban diaspora and “non-territories,” including digital spaces. Carlos also believes the advances of new digital technologies and artificial intelligence, are unique resources that may play an important role in his new creative endeavors. Amid immense technological progress and debate, Carlos notes: “For me, the follies of humanity have been more overwhelming than any advance in artificial intelligence.”

Carlos used the Cuban Migrant Artists Resilience Fellowship to undertake the production of his new experimental film, “In the Name of Henry,” a “trans-human” film project that interrogates the Cuban healthcare system while exploring the intersections of the legacy of Castroism and artificial intelligence. Carlos told ARC, “I see myself today as an explorer of creative horizons, committed to the diverse landscapes of cinema, visual arts, and video games for my expression. ‘In the Name of Henry’…combines a little bit of all of that.”