Acting
Wrongfully accused of a crime she didn't commit, 13 year old Guadalupe Santos is sentenced to 30 years in jail, while in jail she gives birth to a baby girl who is taken from her by her older sister Milagros. 15 years later she escapes jail and meets with Daniel Moncada who turns out to be the brother of the man she was accused of killing.
Marina is a beautiful, sweet young woman who makes a living driving a tourist boat. Her simple life transforms when her mother dies unexpectedly and she inherits a large family fortune. Marina moves into an elegant mansion owned by the wealthy AlarcĂłn Morales family, who treat her with evil, scorn and rejection.
At that time her name was Luisa, she was a humble and naive peasant who worked with her grandmother on the ranch of the powerful Montero. Also at that time she was outraged by Gonzalo, the son of the ruthless hacienda owner, Don Gregorio. She became pregnant, Gladis, Gonzalo's wife, had the girl be beaten to make her lose the baby, which she achieved. Gregorio had the little house where he lived with his grandmother burned, the latter dying in the horrible fire. She was expelled like a dog from the ranch, she left town like a common criminal, but the years have passed, Luisa who now calls herself Victoria has returned to town with an adopted daughter and turned into a sophisticated, rich and powerful woman, with a single goal in mind: revenge on everyone who hurt him so much.
Marlie, a dutiful assistant who dreams of being the theater's next great actor, struggles to wrangle a flamboyant cast of characters for a closing performance of Las Amargas Lagrimas de Petra von Kant, their adaptation of Fassbinder's German text. Dealing with Margo, the theater's volatile director, is always challenging, but it's critically so when Marlie has to tell her that the main electric panel has collapsed just two hours before show and she had to call the only electrician who could fix the archaic apparatus: Frank, Margo's ex-husband.
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In the mid-19th century, California, a Mexican territory, became part of the United States. Faced with the possibility of being dispossessed of his land by the new authorities, Don CĂ©sar de EchagĂĽe, a Spanish nobleman, asks his son CĂ©sar, a capricious and insufferable fop, for help.
The first gay-themed film produced in Cuba by the Institute of Cinema since Strawberry & Chocolate in 1993. The theme, however, is the same as in Guttiérerez and Tabìo's film: homophobia, machismo and fear. The fatal attraction between Alfredo, a doctor in the merchant navy, and handsome Carlos starts in a rundown Havana bar and ends at the sailor's house. But Alfredo's flirting and seducing of Carlos immediately turns into something complicated, ambiguous, dangerous. In a claustrophobic, tense atmosphere, their bodies are powerfully attracted, and the words, though violent, intensify the level of sensuality. Does each man kill the thing he loves? Evoking dreamlike atmospheres and characters, 80-year-old veteran director Enrique Pineda Barnet openly references Fassbinder's Querelle and Jean Genet. Quite controversial in its approach, the films demonstrates the milder attitude of Raul Castro's regime towards Cuba's LGBT Community.
