Eslinda Núñez

In 1914, during World Ward I, Amada, a bourgeois wife, falls in love with her cousin Marcial, a young idealist who is fighting against the Cuban regime in power.

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.

While Havana is full of zombies hungry for human flesh, official media reported that the disturbances are caused by dissidents paid by the United States. Panic seizes all until Juan comes to the rescue: he discovers he can kill the undead destroying his brain, and decides to start a small business under the slogan "We kill your loved ones."

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.

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

Doble Juego

A Russian Literature professor at the University of Havana is ordered to work as a translator for child victims of the Chernobyl nuclear disaster when they are sent to Cuba for medical treatment. Based on a true story.

When her father goes missing, 13 year old Lili uses a spiritual ritual to find him but she gets it wrong and her life turns into a nightmare.

It is the story of a young man named Esteban, who was totally devoted to the cause of the Revolution against Fulgencio Batista. One day, Esteban is diagnosed with a cerebral aneurism, which causes him to take stock of his life as a revolutionary and to reconsider his relationships to his family--to his mother and brother, particularly--and his friends.

No hay sábado sin sol

Julio César Arana, a rubber baron in the Putumayo region, who was characterized by being a callous, heartless, and debased personality, allies himself with foreign companies, to exploit rubber reserves in the Peruvian Amazon region. He stops at nothing, not even the extermination of indigenous tribes. Thus, the so-called crimes of Putumayo occur; the Amazonian communities rebel and resist.

Capablanca