Tomás Gutiérrez Alea

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In Asamblea general (1960), the documentary about Fidel's address of the First Declaration of Havana in the Plaza of the Revolution, Alea practises what becomes a sustaining Cuban contribution to documentary. Engaging with Free Cinema and cinema-vérité, his camera seems to touch the faces of the new citizen one by one rather than as a single mass before a leader.

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.

A photo montage of Cubans filmed by Agnès Varda during her visit to Cuba in 1963, four years after Fidel Castro came to power. This black & white documentary explores their socialist culture and society while making use of 1500 pictures (out of 4000!) the filmmaker took while on the island.

A Haitian son returns from fifteen years in Cuba to find his home village afflicted with the double plague of drought and strife. A Cuban production from the director of Memories of Underdevelopment. In Spanish.

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.

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?

A theater director and script-writer falls for a female worker from the Havana docks, but his machismo, social and working conflicts, and the Cuban woman's condition interfere with their relationship.

The unfair distribution of land in Cuba encourages the support of the peasants to the revolution.

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.

Matanzas, Cuba, 1913. Two young people who are in love communicate through letters written by penman. When the young man leaves town, to become a pilot, the girl discovers she is really in love with the one who wrote the letters.

Through the files of Cuban cinema news program Noticieros ICAIC Latinoamericanos, the documentary shows the most relevant events of the second half of the 20th century as seen by the documentary filmmakers of the island. During three decades and under the general direction of Santiago Álvarez, these moviemakers witnessed almost everything: from the shivers of the Cold War to Bola de Nieve's piano solos; from the discovery of the killing fields in Cambodia to the Carnation Revolution in Portugal. In 2009, the original negatives of Noticieros ICAIC Latinoamericanos were declared part of the "world memory" by UNESCO.

A bourgeois Cuban family of aristocratic origin locks itself into its mansion when the Cuban Revolution comes to power, waiting for the new regime to be overthrown. As time passes, they regress to older and older systems of political order, from capitalism to feudalism to "primitive savagery."

Susana, a beautiful young girl living in 1990, is happily looking forward to her forthcoming marriage - and has bought an antique mirror to grace her future home. Three weeks before the wedding, the mirror is delivered to her Grandmother's home and taken to Susana's room. Later that day, when looking into the glass, Susana is startled to see the image of a handsome soldier, Nicolas (from 1863), instead of her own reflection. It soon becomes obvious that he can see Susana as clearly as she can see him - and life, for them both, is never quite the same again. Contains three shorts as a trilogy: The Two Way Mirror (El espejo de dos lunas) 1990, 0:29:23 With You from a Distance (Contigo en la distancia) 1991, 0:27:38 Saturday Night Thief (Ladrón de sábado) 1996, 0:24:57

Contemporary film critics regard the epic film I Am Cuba as a modern masterpiece. The 1964 Cuban/Soviet coproduction marked a watershed moment of cultural collaboration between two nations. Yet the film never found a mass audience, languishing for decades until its reintroduction as a "classic" in the 1990s. Vicente Ferraz explores the strange history of this cinematic tour de force, and the deeper meaning for those who participated in its creation.

A model Cuban revolutionary tragically dies at work and, as a badge of honor, is buried with his labor card in his suit pocket. When his widow attempts to apply for his pension, the pension office demands the original labor card. Desperate, his nephew embarks on an increasingly chaotic and surreal quest through the Cuban bureaucratic system to secure permission to exhume the body, only to be met with endless forms, contradictory regulations, and apathetic officials.

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In Miraflores, Cuba, the growing romance between Mario, a factory worker, and Yolanda, a schoolteacher, throws into relief the differences in their perspectives and values in Revolutionary Cuba.

Produced by ICAIC in the wake of the Bay of Pigs invasion, "Muerte al invasor" chronicles the three days of fighting at Playa Girón, portraying the rapid mobilization of Cuban forces and civilians against a CIA-backed exile army.

A pious plantation owner attempts to teach Christianity to 12 of his slaves by inviting them to participate in a reenactment of the Last Supper.