Tahimí Alvariño

At a rundown bus station in rural Cuba, the line of passengers waiting just keeps getting longer. The problem is that every bus that passes by is already full. Their only hope is to wait for the station's bus to be fixed. As the disparate group settles in, relationships start forming between the passengers: Emilio, a young engineer, becomes smitten with a beautiful young woman who is en route to meet her Spanish fiancé, a blind man gets support from the others to go to the head of the line. Frustration and disorder reign when the one bus brakes down and no one can leave. Resigned to working together, the group magically transforms the station into a beautiful place where no one wants to leave.

Waltz in Old Havana

In Cienfuegos in the 1980s, a poetic young girl tries to make sense of her parents' volatile separation while keenly observing the reality of Cuba's dilemmas.

An unclaimed fortune, grown for centuries in a British bank account, becomes a potential windfall for Bernadito Castiñeiras and the residents of the tiny village of Yaragüey, Cuba. To receive his massive inheritance check, Bernadito must prove his lineage to the Castiñeiras nuns who first populated the region. In an isolated and impoverished town where many residents share the same surname, a feud breaks out between the "Castiñeiras" and "Castiñeyras" families.

Luis, a sterility physician, is in love with a young colleague and faces the dilemma of breaking his marriage or accepting the tranquility and security of domestic life.

After several years of retirement, Roco decides to make a new film. To achieve this, he reassemble his crew: cinematographer Larsen, Nacho the cameraman, soundman Meta and Cacho, the ever loyal machinist. But social and personal crises have dispersed the strange and remote territories of reality. Sometimes dramatic and and sometimes funny, Roco's search will lead him to an unavoidable encounter of life, death and rebirth.

El techo

Havana. Mother and daughter embark on a journey in an old Polski Fiat commonly known in Cuba as the “Polaquito”. The bond between Bertha and Margot does not prevent a family's and country's turbulence from arising. Immersed in conversation, the distance to an inevitable destination is shortened.