David Bim’s impressive observational documentary debut offers an astonishingly visceral and powerful portrayal of a couple struggling to survive on the margins of Cuban society, all set against the backdrop of a country reeling from the ravages of the Covid-19 pandemic. The film won both the Special Jury Award and International Critics’ (FIPRESCI) Award at Visions du Réel 2025.
While we are always aware of the terrible impact of Corona, it haunts rather than overpowers the beautifully shot monochromatic debut film, which the filmmaker (also editor, cinematographer and co-producer) spent some eight years developing and filming.
The title, To The West, in Zapata (Al Oeste, En Zapata) might feel enigmatic, while the tone and structure of the film is simple, revealing and even touching. Split into two clear and distinct sections, it constantly fascinates as it follows the lives of Landi and Mercedes, a married couple living in the marshlands of Zapata, one of the toughest areas of Cuba, who struggle to look after their disabled son Deinis, who needs day-round care and attention.
The film’s opening section – titled Landi – begins with a striking sequence (and using a style and tone that Bim replicates throughout) as the camera follows our hero, filmed from behind, walking through the marshlands with a crocodile slung over his shoulders and a machete dangling from his belt. It is evocative, visceral and gripping (it could be a horror film), as the film offers mere glimpses of Landi’s profile and hair, the sound design emphasising the location as buzzing insects and birdsong accompany his squelching through the marshland.
Eventually he reaches his camp, slumps the crocodile down and – exhausted – swallows a pill with water from the marsh. A wind-up radio offers music and news of the Covid deaths and lockdown, and the film offers close-ups of his weather-beaten and lined face as he eats, plays with a small rodent, bathes in the swampy water and stares at family photos. All this before – rather terrifyingly – heading back into the marsh to hunt for another crocodile, using only a long stick with a loop of rope at one end. Seeing him waist-deep in the water trying to wrangle the snapping beast is chilling.
In the second part – titled Mercedes – we are introduced to his wife as she strides through the forest shouting “come to mommy” as she searches for their disabled son. Living on the coast, she tries to source charcoal to cook with, and spends most of her time taking care of the boy, who also suffers from severe autism. She becomes impatient that Landi has not returned – but she cannot say anything, as she needs to avoid giving them away as he is poaching in the Zapata swamp, a biosphere reserve.
He finally appears on a bicycle, carrying the food that enables them to survive. But this family reunion is only a brief return to normality, and there is little time before he has to return to the marsh. The brutal cycle of providing food means that he must become a hunter-hermit once again and set about risking his life to try and capture crocodiles. The film ends with him starting to cycle off, before Mercedes runs after him, reminding him that he needs to take his tablets…
Cuba/Spain, 2025, 74mins
Dir/Scr/Cinematography/Editor: David Bim
Production: Ventu Productions
International sales: Square Eyes
Producers: Lia Rodriguez, David Bim
With: Orlando “Landi” García, Mercedes Morejón, Deinis
