In 1965, Fidel declared that "we will never be able to believe that a homosexual can embody the conditions and the requirements of conduct which would allow us to consider him as a true revolutionary, a true communist militant" (West 16). This comes after Cuba's shift to the Soviet bloc during which Fidel "asserted revolutionary control over key institutions of the 'bourgeois' social order" (Skidmore, Smith, and Green 125) such as the media, courts, unions, universities and schools. Fresa y chocolate by Tomás Gutiérrez Alea takes place in 1979, at the time of homosexual intolerance under the Castro regime. Using the staging and obvious dialogue between Diego and David, Fresa d'Alea (53:28-58:56) critiques the Castro regime's intolerance toward homosexuality by proposing that Cuban policy be more liberal and inclusive of intellectual minds who want to fight for Cuba. .Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get Original Essay Alea creates a setting that presents the character of Diego as an honest revolutionary. In the initial shot of the scene and throughout the scene, Diego's (Jorge Perugorria) apartment is filled with art in the form of drawings and sculptures, an abundance of books on the shelf, and Diego also wears a cross-shaped necklace. Deborah Shaw writes: "It had become clear that the revolution was not open to everyone, certainly not to its protagonist, Diego, a bourgeois, nonconformist Catholic homosexual" (20-21). Diego is well established as a true intellectual and connoisseur of Cuban politics, but he is excluded because he is homosexual and Catholic, something Fidel did not tolerate in communist Cuba. The Cuban government's intolerance is heavily criticized as people like Diego who show concern and fight for Cuba's future are ignored because the government is too concerned with personal details rather than general politics. The film's dialogues reveal the filmmakers' negative stance towards the government system. In this scene, Diego and David (Vladimir Cruz) address Diego's homosexuality and what it means for him to be gay in revolutionary Cuba. Deborah Shaw writes, “Strawberry is a defense of the forbidden and hidden identities of others, and so much of the dialogue takes the form of justification” (26). In this scene, there is no background music to make their conversation less important; they have an important dialogue about the failure of Castro's government to include gay intellectuals working to improve Cuba. Although he is gay, Diego says, “I am always honest and patriotic. » David says, “But not a revolutionary,” to which Diego responds, “But who says I'm not? Diego constantly justifies his reason for being a proud Cuban because people like David automatically assume that his homosexuality is an illness and view him as an inferior being. “What do you believe in?” » asks Diego. “Cuba,” David said. “Me too,” Diego said. This scene continues to show Diego's passion for a liberal and inclusive Cuba, which reflects what the filmmakers believe Castro's exclusive policies should be. Keep in mind: this is just a sample. Get a personalized article from our expert writers now. Get a personalized article essay In order to address the agenda of a politically tolerant Cuba, Tomás Gutiérrez Alea creates a production that reveals the ideal lifestyle of a Cuban revolutionary. Alea also performs a dialogue..