Daisy Granados

An American lesbian in Cuba explores gender through dance and film, blending personal experiences and cultural symbols with music and Revolutionary cinema and questions how lesbians fit into Cuban cinema.

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Five years after the passing of the iconic filmmaker Humberto Solas, one of the founders of the New Latin American Cinema, partners, friends and family gather to evoke aspects of the life and work of Cuban artist of universal size.

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A widower is surprised to learn that his late wife lead a double life.

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Determined to restore her dying father's reputation, Ana travels to the remote town of Rosales. Decades ago, he settled there and opened his first free clinic for cancer research. He launched an illustrious medical career - and fell in love. Ana plans to celebrate her father's scientific and humanitarian achievements by transforming the old family mansion into a world-class museum. She will preserve his legacy, and also breathe new life into the forgotten Rosales. But the townspeople-now destitute and helpless-do not greet her warmly. Neither does the house.

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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.

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Based on a true story about a road crew that raced to build the road between Brasilia and Fortaleza and the unexpected events that unfold make this film funny, engaging, and a true gem.

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These women think, due to her social position, that they live in a “bubble of soap”. Nevertheless, when this mirage explodes, they remain in the air, in a free fall. Based on a novel by Ricardo Garibay.

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A poetic journey about the life and work of Puerto Rican poet Julia de Burgos.

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Mexican feature film

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Carla, a young postal worker in Havana, spends her days postmarking thousands of letters and dreaming of the day when she can be reunited with her parents, who moved to Miami when she was fifteen. To fulfill her longing for intimacy, she opens random letters and rewrites them into lyrical prose, believing she is helping her fellow Cubans understand one another better. Beautifully filmed in black and white accented by brilliant colours, Nada+ has a stunning visual composition. With its delightful mix of visual humour, theatrical characters, satire and a lighthearted love story, it has a distinctly Cuban flair.

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Like her mother before her, beautiful Sissy wants to be a dancer at the Tropicana, Havana's famous cabaret. But her father, Candido, forbids her to do so because of his ongoing grudge against Armando, his former rival and choreographer at the nightclub.

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Amanda has the gift of prophecy since she was a child. This unique gift causes the interest, fear and rejection of teachers, psychologists, journalists, friends and family.

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Walter, an aspiring musician from Madrid, has a lot of troubles. After finding a videotape, he learns something which will alter his whole life, and put his Madrid problems on hold. In the tape, a Cuban woman confesses to being his mother. She is waiting for him in Havana. Walter goes to Havana to see his mother. There, the plot thickens with the addition of the mother's daughter, and a Spanish airline crew member, who round out the quartet.

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Three sisters leave Cuba in search of a better life in Madrid. While there, they encounter, among other things, other Cuban expatriates.

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After two years in jail, El Isleño returns to the island of La Fe, ruled by the dictator Francisco Gavilán. He arrives with a cinematograph and exhibits "Robin Hood" to the people. The next day the bridge that communicates La Fe to the mainland has been destroyed, and the people plan to overthrow Gavilán.

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In Santa Fe de Tierra Firme, an imaginary Latin American country, the indigenous dictator Santos Banderas rules with an iron fist. A group of rebels trying to seize power by force while some liberals try a change of government legally.

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Ruben lives in Cuba and Andy is exile in the United States. Both are trapped by history at opposite poles and want to change places, but they can't do it.

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The plot is situated in Cuba during the early '50s, before the cuban revolution. A prostitute gets in love with a boxer to whom she devotes her life. As the boxer progresses in his career, he gets money and women. The prostitute tries everything to keep him meanwhile her tortured soul sinks deeper and deeper.

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Upset by the glass ceiling in the workplace and a younger prettier woman moving up the ladder, a woman rants about her situation.

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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.

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An elderly man with wings is blown off course during a tropical storm in this symbolic fantasy. The Old Man lands near a Caribbean island where a poor family gives him shelter in a chicken coop. Father Gonzaga is the skeptical priest who rushes to damn the creature. Soon the Old Man is the subject of curiosity seekers as Elisinda and Pelayo start charging admission. A traveling carnival of human oddities camps near the Old Man as people flock to see the show. The Old Man is reduced to being an unwanted pet, and after six years, he mends his wings and flies away. Nudity, simulated sex with a spider woman, and the ugliness of human exploitation definitely put this fantasy in a category not for children.

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A left-wing intellectual, faced with the imminence of his arrest during the coup d'état against President Joao Goulart, lives anguished moments of definition. To the collapse of his small universe is added a conjugal confrontation that unmasks him mercilessly.

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Javier Argüelles, an opportunistic young man from Cuban middle class, survives all kind of political changes in Havana, from 1932 to 1959, while his brother Darío is persecuted and killed because of his leftist ideas.

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The world of a young psychiatrist is shattered when she finds out that her husband is having an affair with one of her patients.

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Documentary in four parts on Latin American cinema. Fourth episode: in Cuba, the ICAIC, created in the aftermath of the Castro revolution, is at once a film school, a production company and a state cultural branch. Cuban filmmakers testify to the situation and themes specific to their national cinema.

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The story of Cecilia is a story of the society that dominated 19th-century Cuba, a society divided between whites, blacks, and those who were mixed, the mulattos. (Since the Spanish conquistadors killed off the Indian population in Cuba not long after they took over the island, there are no mestizos, or those of mixed-Indian blood in Cuba as in other Caribbean nations.) At any rate, the drama about the life and loves of Cecilia (Daisy Granados) takes place against the backdrop of graphically violent mistreatment of slaves and the rumors of a slave rebellion after the Cubans hear of slaves turning against their captors in Haiti.

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Teresa is overwhelmed: with a husband, three young sons, a job as a crew leader in a textile factory, and volunteer commitments as cultural leader of her union. Her husband, Ramón, believes her additional pursuits take time away from her domestic tasks and wants more of her attention, accusing her of neglecting him, her house and her family. A hard-hitting Cuban drama that presents a woman struggling for control of her own life and deals with the social consequences of traditional male chauvinism.

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Los desafíos presents three separate stories that are linked by an American presence in Spain in the 1960s, with Dean Selmier playing the role of the American male in all three.

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In the aftermath of the Bay of Pigs incident, Sergio chooses to stay behind in Cuba while his wife and family escape to neighboring Miami. Alone in a brave new world, Sergio observes the constant threat of foreign invasion while chasing young women all over Havana. He finally meets Elena, a young girl he seeks to mould into the image of his ex-wife, but at what cost to himself?

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Adam receives a flashlight with special powers: every liar it shines on flies into the air. Production was cancelled in 1965/66 due to the film's political content. Only in 1989/90 could the director reconstruct the film, where missing sounds and images are replaced with script inserts.

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Santiago de Cuba, 1956. Pablo, a young mulatto with a deep poetic sensibility, studies at the university. He loves María, who, despite her parents' wealthy position, is not accepted in high society because of the color of her skin.

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Magda is the enigmatic and resilient leader of an entirely female-led community she built in the wake of a devastating civil war. When her son returns from the front to this world without men, his arrival stirs a growing unease amongst the group. As the women’s hostility mounts and unimaginable violence begins to unfold, he comes to fear that the truth about what they’ve built — and what they’ve done to protect it — may cost him his life.

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