WomanInFan Residency- Day García

Day García is a Cuban filmmaker and screenwriter known for her exploration of Cuban culture, gender, and social issues.

After studying at the National School of Arts in Havana, Cuba, she gained significant recognition for her vivid and unique narrative style. García's works often examine personal and collective Cuban identities, earning her awards and screenings at international festivals such as the Marbella Latin Festival. Her approach highlights the experiences of women and marginalized communities, pushing the boundaries of contemporary international cinema.

Day, you’re a director, screenwriter, and producer, but you started your career in theater pursuing acting. When did you decide to move from being in front of the camera to behind it? Do you feel there’s a big difference between these roles, and how have they impacted your journey?

Being behind the camera arose from the lack of opportunities to act, which led me to write my own projects with the intention of starring in them. Over time, that writing turned into a desire to direct them, but taking on so many responsibilities made it clear I couldn’t handle it all. So, I decided to step back from acting and focus on creating opportunities both for myself and for others.

It was a process driven by the need to bet on myself and explore how far I could go to achieve what I truly wanted. It didn’t take long to realize my place was behind the camera, not in front of it. Even though I’ve always loved acting and theater has been a key part of my life since I was 14, I never felt entirely comfortable with the exposure that being in front of an audience brings.

Behind the camera, I feel I can still express myself and show who I am, but with the protection the camera provides and all the mechanics that come with it. In this sense, I have a deep admiration for actors and actresses, who, in my view, are the bravest professionals in the field. Perhaps that’s why I consider acting and directing actors to be crucial in any project. It’s an area I connect with deeply and see as one of the most enriching and essential aspects of the creative process.

You are the seventh woman in the history of Cuban cinema to have directed and written a feature film—a historic milestone. Lucas como Sara, your debut film released in 2018, is a piece of work that can now be seen with perspective and distance six years later. What is your relationship with your past works? Do you revisit them? Do you notice significant changes in how you perceive the issues and different realities now compared to before?

My first film was a great learning experience. Throwing myself into writing, directing, and also producing it is something that, in hindsight, I wouldn't recommend to anyone. Or, at the very least, I’d say: don’t use 20 locations, 15 characters, over 80 extras, and then try to film it all in 21 days. It depends on how you look at it: at that time, we were naïve enough to take on the adventure of making an independent film. Nowadays, I wouldn’t do it in the same way, and perhaps that’s why I’m taking more time to release the next one.

Back then, not making a film simply wasn’t an option for us, but that experience, along with the passing years, has taught me to have much more patience. I think, in the end, we all share that dissatisfaction and the feeling that we could have done something better. I’m almost certain that even the greatest film directors, when looking back, have at least a dozen things they’d like to change in their films. It’s something inherent to the creative process: there’s always that lingering thought of “I could have perfected it.”

Looking back now, I can definitely see how much my perspective has changed—not only in how I approach a project but also in the stories I want to tell. In my case, I feel like, over time, a kind of “creative gland” has awakened, one that focuses on women’s stories. Years ago, when I thought of an idea, 9 times out of 10, the protagonist was a man, or the story revolved around male characters. However, now it’s completely the opposite: my mind automatically thinks of women and how to turn a story into one about them. I usually start with a high concept, and from there, I build the characters. This evolution has been enriching because I feel it reflects a profound change in how I perceive and want to contribute to the world of cinema.

We understand that being one of the first women in film history to achieve something must have a bittersweet taste—not only feeling recognized but also seeing an obvious problem highlighted. How do you face this dichotomy? And how do you foresee the future of upcoming Cuban female directors? Are you optimistic?

It’s true that being one of the first women to achieve something in Cuban cinema can feel bittersweet. On the one hand, I feel proud of what I’ve accomplished, but on the other, it’s impossible not to think about how many talented women could have come before me if they had had the same opportunities. I face this dichotomy with responsibility: I feel that the important thing is to open more doors so those who come after find a more accessible path.
As for the future, I want to be optimistic. I believe that younger generations are pushing hard and that, although there is still much to do, change is already underway. We see it not only in Cuba but also globally, with more female voices in directing and more stories centered on women. However, I am also aware of the structural barriers that still exist, from access to funding to biases against women in leadership roles. But I see so many talented and determined young women that I can’t help but believe change is possible, even if it doesn’t come as quickly as we’d like.

In relation to this same context, we know that in 2012 you founded the audiovisual production company Live The Reel, based in Palma de Mallorca. What can you tell us about your role as a producer? What new challenges do you face in this position?

Live The Reel was born as an audiovisual production services company to facilitate projects in a place as special as Palma de Mallorca. We handle everything necessary for productions to shoot without setbacks: locations, permits, logistics, coordination of teams, and any technical or practical detail the project may require. Our main goal is to be that bridge that connects the clients' needs with local resources in an efficient way.
As for the challenges, the biggest one is coordination in international productions. Many times, we work with teams that have high expectations and very tight schedules, which requires everything to run with millimetric precision. Another major challenge is staying up-to-date with the industry’s needs. Productions are constantly evolving, and this means adapting to more advanced technologies, different work formats, and sometimes very specific client requirements. It’s precisely this dynamic that makes this job so exciting: finding solutions so every production can unfold in the best possible way.

We also wanted to congratulate you on being selected for this edition of the WomanInFan Residency. What can we expect from the future of Day García? What’s next?

Being selected for the WomanInFan residency with my feature film project LA PAUSA has been, so far, the most transformative experience of my career. It felt like someone had given me a VIP pass to the backstage of the film world. I had never before had the chance to experience the festival universe so closely, with that perfect combination of proximity, care, and pure enthusiasm for the projects my colleagues and I brought along.

From the masterclasses to the personalized mentorships that seemed tailor-made to bring out the best in each of us, and the contacts I would never have been able to secure in any other context. It was like stepping into a parallel universe where everything that seemed impossible was suddenly within reach. You come home with your creative fuel tank full, with new ideas exploding in your head, and with an energy that makes you feel unstoppable. It’s something you have to experience to truly understand.

Looking ahead, I hope to make a film… or maybe the three I already have in development. It all depends on many factors, especially the producers, but who knows, maybe they’ll come out one after the other. My greatest dream would be for one of them to premiere at Sitges. It’s such a special place that having a premiere there would be the ultimate achievement.