ABSTRACT Vietnam was a central subject for solidarity filmmaking in the late 1960s and early 1970s, and Cuba contributed some of the most significant efforts to this trend. In this essay, I first situate the Cuban solidarity films on Vietnam within the larger context of the nation’s internationalist foreign policy, before focusing my discussion on two documentaries—79 Springs (79 primaveras, 1969) by Santiago Álvarez and Third World, Third World War (Tercer mundo, tercera guerra mundial, 1970) by Julio García Espinosa. My analysis will show how the films, in addition to their anti-imperialist stance and solidarity-building efforts, address issues such as guerilla warfare and schisms in the socialist camp central to Cuba’s ambitions to create a coalition of the revolutionary Left beyond the Soviet Union and China. Attention will also be given to the formal and stylistic aspects of the documentaries, which display, albeit in different ways, an awareness of their own conditions of cinema making and of the question of audience in a Third World context.
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