Salvador Wood

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.

Film formed by three stories: Flash by Pavel Giroud, in which a photographer sees strange apparitions in his photographs; Lila by Lester Hamlet, on the forbidden love between a young couple; and Luz roja by Esteban Insausti, about two characters who begin an affair after they met by chance in a traffic hold-up.

The first years of the Cuban Revolution characterized by social transformations and class struggles.

The Castro revolution was just consolidating its power when, in 1961, over 100,000 students were sent from their schools into the countryside to teach the peasants there how to read. Coinciding with the Bay of Pigs invasion, in this docudrama, 15-year-old Mario (Salvador Wood) has come to a tiny village in the Zapata swamps and gradually wins the villagers over to his task. At the same time, he receives an education in the realities of rural life from the hard-working peasants.

Based on actual events, the film dramatizes the efforts of Cuban counterintelligence services in response to Operation Patty, a CIA plot to assassinate Raúl Castro.

A study in contrasts set in and around Havana that explores Cuba's 1959 revolution: a young woman's fascination with the excess of an American-owned casino leads to her downfall in the eyes of her street vendor boyfriend; a tenant farmer revolts the only way he knows how, attacking the land he works; university students gain first-hand knowledge of political upheaval; and, in the hills outside the city, the members of a poor peasant family are patriotically swept up into the burgeoning revolt.

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.

Spain in the 1930s. The film tells of the fight of international troops against General Franco's army. It tells of the fate of three brigadists, the American Gary, the German Hans and the Englishman Joe, who are taken prisoner by Franco's army. Their attitude in this difficult situation is a living example of international solidarity and creates a memorial.