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Havana, December 2014. A director is looking for a leading actress to play Stella in a Cuban adaptation of “A Streetcar Named Desire” when the announcement that Cuba and the United States are restoring diplomatic relations irrupts into the ordinarily weightless everyday lives of a group of actors getting ready for the casting.
Lía and Manuel live illegally in a closed house. Tania, trying to regain her rights over the space that her uncle left her, intends to evict them. But the couple is not ready to leave and Tania decides to retrench on the top floor of the house. The war that starts ends up moving them closer.
A filmmaker locks himself in his house to face up to his loneliness and the ghosts of three couples, the protagonists of three of the films he made over 31 years, from the fall of the Berlin Wall until today. An essay on loneliness, absence, unease and the weight of social circumstances on individuals. A film about Havana, as lived and filmed under a blazing sun.
Cuban filmmaker Enrique "Kiki" Álvarez's newest feature paints a slow-burning love story set in the years immediately following the Cuban Revolution in January of 1959. The Black Box is a secret diary written by Elsa and read by her granddaughter several decades later, a film about a young woman who finds and reads the experiential, emotional and political legacy that her grandmother has left hidden like a magical object. Featuring rare footage from the beginning of the Cuban Revolution.
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.
A Cuban immigrant struggles with their transgender identity while searching for their missing sister in New York City's underground sex industry.
During a violent winter storm, a meek bartender spends the longest night of the year with a mysterious stranger with whom she shares a meal and an ancient ritual. This film is based on the story collection and proposed tv series HOTEL NETHERLAND by writer/director Lisandro Perez-Rey.
In the manner of a well run Greek tragedy, leaving aside one of its components, dragging in its passing narrative certainty by the viewer that violent death is the hallmark of so much misfortune purifier, Los Dioses Rotos crowns the very successful arrival of Ernesto Daranas to the feature domains and with it, the team that accompanied him, including the actors.
A young man is plunged into a life of subterfuge, deceit and mistaken identity in pursuit of a femme fatale whose heart is never quite within his grasp.
The friendship between two children is threatened by their parents’ differences. Malú is from a family that was upper-class before the Revolution and remains well-to-do through remittances from relatives overseas, and her single mother (Larisa Vega Alamar) does not want her to play with Jorgito, as she thinks his background coarse and commonplace. Jorgito’s mother (Luisa María Jiménez Rodríguez),