Ismael Albelo 

National Ballet School of Cuba HIstorian and Lecturer

Your (OUR) documentary is very deep into my heart and soul. The end is a nice hope for our future: everybody will make whatever they want and need and all of us continue to be together as a big Cuban family.

Bestor Cram

Creative Director, Northern Light Productions

Last night was a special evening seeing your beautiful cinematography and your uniquely crafted storytelling.  I was stunned that I could continue to look at legs and toes for 90 minutes and feel I was always seeing anew.  The defection is a fascinating part of the story and I found that you chose to keep it personal and not a political thing so consistent with the film. 

As a viewer, I wanted to know what made a young person become so determined to be a ballet dancer.  I think your observational approach with the austere narrative voice encouraged me to look hard to discover that answer.  It isn’t just a leap from poverty’s dependence but an enactment of discovering personal independence and the joy it accompanies.

It is so nice to see a film that begs you to watch, not just to see voices illustrated.  You did it beautifully with a pace that encourages one to understand that in watching cinema comes the experience of becoming aware of your own sense of self.

Ross McElwee

Filmmaker: Sherman’s March, Photographic Memory

What struck me about your film, aside from how terrific the shooting was throughout, was the immense sympathy you have for your young subjects.  You’re quite clear-eyed, of course, and you don’t sentimentalize, but you are sympathetic, and convey that sympathy to us as viewers.  I had intentionally not read about your film in advance, and did not know about the defection that would occur at the end.  Stunning.   And yet, probably inevitable.   I appreciated the way your film simply recorded the event, noting its effect on family and fellow dancers, without becoming encumbered in the political ramifications.   Deftly done.  

Abelardo Morell

Internationally Acclaimed Photographer

Secundaria is a remarkable film. Seemingly about dance, and it’s a wonderful visual homage to that subject; it deeply captures how students, entwined in a strange dance with a regime that is less than free manage to find a freedom of a sort. The film is also about the kind of ambition young artists are able to maintain when so much is still in question. Like Yeats’ line “how can we know the dancer from the dance?” This film asks further: How can we know the dancer from society?

Ty Burr 

Boston Globe:  Best of the Boston Fests, April 20, 2013

Wonderful. You have such an eye for the arresting image; I could tell within the first minute that I was in the hands of a natural filmmaker.

(Mary Jane Doherty traveled to Cuba repeatedly over the years to complete this lucid, watchful portrait of young ballet dancers desperately trying to plié their way out of poverty and into the Ballet Nacional.)

Charles Warren

Professor of Film HIstory and Theory, Harvard College and Boston University

It’s very beautiful - being immersed in that building, the dancing, the young people, everything. I think you got that question from the trained dancer because your shooting and editing just seem so intuitively engaged with the dance - the dance becomes film in what seems like a very natural way, and there’s a transcendence about it. The social realities, these kids’ backgrounds, the peculiarities of Cuba, all are made quite plain in the film, and yet the dedication to art and the excitement and fulfillment of it are felt very strongly - it seems, because YOU feel it, as the dancers and teachers do.

Thorsten Trimpop

Filmmaker  and Germany’s 2012 Gerd-Ruge Grant Recipient

Secundaria is amazing. You‘ve done a consummately beautiful thing in showing people in a gentle and respectful closeness that never loses its earnest distance. It‘s really astonishing to follow the story that develops by its own pace to the final emotional events. I love all the details that your wide awake camera eye captures. I loved the rain, the women singing in the restroom, the whole Johannesburg sequence and the balance you found between the atmosphere in Cuba and the travels. Your film shows Cuba from an unexpected angle that I‘d never seen before and is of course so much more about the culture and life itself then about ballet.

Bill Marx:  The Arts Fuse, April 17, 2013

The film chronicles the artistic and social challenges for the pupils and the institution, moving from a sensitive examination of the physical and creative demands of dance to a more dramatic study in political repression and personal choice.  

Ricardo Acosta, Filmmaker: Herman’s House and Marmato 

Sundance Documentary Labs

Thanks for making a film so beautiful and soft and profound, Secundaria is a treasure of cultural enhancement for any audience that want to see the reality and the passion, the personal and the universal story of a cuban adolescent building their dreams in a time of dysfunctional changes  in their country, its also a story of resilience and “Duende” - those very important component of any good Artist’s gift.

I cried so much with joy and sadness- there are so many moments of beauty- complex beauty in your film!!

Debbie Danielpour

Screenwriter, Associate Professor, Boston University

All of us were moved by the gorgeous images of people and places, your use of natural light (I loved the movement/rhythm you caught in the repeated images of legs, or columns or stairs.), by that held image of the teacher at the very end, at how you shaped a story from your “poem.”

Luis D’Elias

Musician, Berklee College of Music

The film is amazing. I love how despite being a documentary, there is an enormous dramatic content. It’s amazing how people’s lives are as dramatic as fiction. It reminds me that fiction mimics it, rather than otherwise. 

Lisa Hiton

Arts Educator, MFA (Poetry Boston University 2011)  M.Ed (Harvard 2013)

It was a film poem to me—something that made voices of the unheard visible and asked its receivers to join in a cause, in a tribe. 

Margie Ruddick

Landscape Architect, Winner of 2013 Cooper Hewitt National Design Award

And politics?  Excuse me, Moisés?  The two-room Mayara house vs. Gabriela?  The defection itself?  The coffee table?  The politics are everywhere in the movie, they just aren’t TOLD, they reveal themselves.