Film Review: Viva

Paddy Breathnach’s Cuban-set drama Viva is one of only four Irish films to ever compete for a place in the Oscars’ Best Foreign Language Film category. Hoowever, it doesn’t just move beyond linguistic comfort zones. Exploring both a politically tumultuous country and a stigmatised community, Breathnach demonstrates the ability of Irish filmmakers to successfully transcend the familiar.

Through the eyes of young hairdresser Jesus (Hector Medina), the audience is thrust into the world of Havana “transformistas” – drag artists who lip-sync in a local dive bar. Initially a wig stylist, Jesus becomes drawn to the stage, creating an unpolished but angelic alter-ego, Viva. Already challenging the culture’s traditional gender norms, Jesus’ quest for self-expression is further challenged by the return of his estranged father, Angel (Jorge Perugorria).

Though an outsider to both Cuba and the drag community, Breathnach imbues Viva with compassion and authenticity. Cinematographer Cathal Walters captures the paint-chipped, sweat-slicked beauty of Havana, while Mark O’Halloran’s writing avoids caricature. His performers (played both by actors and genuine Havana transformistas) are not catty ciphers, but real people who have created a rich and supportive community. Meanwhile, the traditional views of older Havana residents such as Angel and Jesus’ disapproving neighbour Nita (Paula Andrea Ali Rivera) do not eliminate their capacity for kindness, or potential for change.

While many people may only be familiar with lip-syncing thanks to RuPaul’s Drag Race, here the art form moves beyond the comic and performative to emotionally transcendent. Viva’s performances are unsubtitled, a canny move that allows the audience to focus on the soulfully transformative power of the songs, rather than the lyrics.

Much like

In cinemas August 19