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A lesbian, an aspiring actor, an aspiring singer, a low-class marriage, a neighborhood community and 2 renowned directors have memorable less-than-24-hour-long experiences while living in/visiting the capital of Cuba.
Mercedes and Pedro, Cuban producers and screenwriters, travel to Spain to close an agreement with Alberto, a Spanish producer. Together, they try to make a film about Cuban reality. A movie about those who leave the island, those who return, but also those who still want to leave but cannot. A simple idea that will slowly become more complicated because Spaniards and Cubans have a very different point of view on this reality.
In 1979 Cuba, flamboyant gay artist Diego attempts to seduce straitlaced David, an idealistic young communist, and fails dismally. But David conspires to be "friends" with Diego so he can monitor the artist's subversive life for the state. As Diego and David discuss politics, individuality and personal expression in Castro's Cuba, a genuine friendship develops between the two.
During the 'Special Period', the members of a funeral procession cross paths with truckdrivers who have to take the same route, and begin to talk about God and the world. They discover that life for both groups has many similarities, as well as a lot of differences.
At a rundown bus station in rural Cuba, the line of passengers waiting just keeps getting longer. The problem is that every bus that passes by is already full. Their only hope is to wait for the station's bus to be fixed. As the disparate group settles in, relationships start forming between the passengers: Emilio, a young engineer, becomes smitten with a beautiful young woman who is en route to meet her Spanish fiancé, a blind man gets support from the others to go to the head of the line. Frustration and disorder reign when the one bus brakes down and no one can leave. Resigned to working together, the group magically transforms the station into a beautiful place where no one wants to leave.
Documentary that celebrates 100 years of cinema in Latin America and talks about the origins and the development of cinema in this subcontinent. Its structure is based in 12 short films directed by various Latin American directors. These are: 1) "Los inicios", Iván Trujillo 2) "Cuando comenzamos a hablar", María Novaro 3) "Jugando en serio", Jacobo Morales 4) "De cuerpo presente [Las espirales perpetuas del placer y el poder] Cine Mexicano [1931- 1997]", Marcela Fernández Violante 5) "Cuando quisimos ser adultos", Edmundo Aray and David Rodríguez 6) "Cinema Novo", Orlando Senna 7) "Memorias de una isla, Juan Carlos Tabío 8) "Un grito, 24 cuadros por segundo", Julio García-Espinosa 9) "El día de la independencia", Federico García 10) "¿Sólo las formas permanecen?", Fernando Birri and Pablo Rodríguez Gauregui 11) "Todo final es un principio", Andrés Marriquín.
A superstitious middle-aged woman falls in love with a taxi driver, while trying to learn the identity of the unseen person tossing eggs at her.
Gloria, Yolanda's mother, exchanges their old house in Guanabacoa for a modern apartment in Vedado to keep Yolanda away from her boyfriend, but her plans soon backfire.
A surrealist dolly shot. The thesis of the film seems summarized in which the character played by Frank Gonzalez (the fictional director of the film within the film) confesses to end his interviewer: "This film wants the viewer to reflect on the deceptive appearances can be."
After a devastating loss, Esteban “La Máquina” Osuna is at a low point in his boxing career. Lucky for him, his manager and best friend Andy Lujan is determined to get him back on top. But when a nefarious organization rears its head, the stakes of this rematch become life or death. Esteban must juggle his own personal demons and protect his family.