Idalia Anreus

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, wants more of her attention; her feelings are mixed, wanting domestic peace, feeling responsibilities to the revolution, and wanting to control her own life beyond doing dirty dishes. They separate; he begins an affair. When he wants a reconciliation, she asks what his response would be if she'd had an affair too. "But men are different," is his reply. He's failed her test, and to hold on to independence and self-respect, she remains uncompromising and hard-edged.

In his award-winning film Lucía, Humberto Solás interpreted the theme of Cuba’s hundred years' struggle in an entirely novel way to create an epic in three separate episodes, each centred around a woman called Lucía and each unfolding in a different period of Cuban history, corresponding to the three stages of colonialism (1895), neocolonialism (1930) and socialist revolution (1968). The three episodes also present us with "Lucías" of different social classes. Solás described his film in this way: "The woman's role always lays bare the contradictions of a period and makes them explicit: Lucía is not a film about women, it's a film about society."

Cuban peasants wield machetes in a violent uprising against Spanish authorities in the late 19th century.

This Cuban feature examines the circumstances arising out of a woman's claim to have seen the Virgin Mary and to have been healed by waters from a nearby stream. In an accelerating storm of cynical opportunism, her sincere beliefs are exploited by businessmen, politicians and military men. Rival groups compete to exploit the hysteria the vision causes, and the chaos culminates in a revolution. Striking imagery and skillful camerawork enhance this feature.

Tulipa, an old strip-teaser from a traveling circus, is replaced by a younger, more wild woman. She must teach the job to her successor or cling to an act that she values as true art.

Rebuild, in the same place of events, a trial held in 1969 to four men, accused of sabotage for having caused the fire of a forest plan that caused the death of eight people and large material losses. At the same time, it analyzes retrospectively the circumstances that contributed to the occurrence of the crime.

By director Manuel Octavio Gómez