Luis Alberto García

Three stories, loosely inspired on short stories from classic Boccaccio’s Decameron, are connected by a creatively-bankrupt writer who offers money in exchange for original subjects.

Ernesto Guevara, known as 'Che', leads a group of Cuban exiles under Fidel Castro in a revolution to overthrow Fulgencio Batista, the dictator of Cuba.

Cuba, early 21st century. Mandi is a young art graduate who returns to his small coastal town to complete his community service. There, he must confront a local reality that clashes with his aspirations and ideals, placing him at a crossroads between avoiding confrontation within an oppressive political context and pursuing personal and artistic freedom.

The friendship between two children is threatened by their parents’ differences. Malú is from a family that was upper-class before the Revolution and remains well-to-do through remittances from relatives overseas, and her single mother (Larisa Vega Alamar) does not want her to play with Jorgito, as she thinks his background coarse and commonplace. Jorgito’s mother (Luisa María Jiménez Rodríguez),

Gustavo idolizes his older brother Paco and his punk, "Frikis" bandmates. When word reaches the Frikis of a potential reprieve from the effects of the economic crisis, they do the now unthinkable: deliberately inject themselves with HIV to live at a government-run treatment home. It's there that they create their own utopia to live and play music freely.

Amor Crónico follows Grammy-nominated, Cuban-born CuCu Diamantes as she embarks on a whirlwind tour of her home country. Interweaving glamorous live performances with a fictional romance, the film pays tribute to the history of cinema in surreal fashion. Backed by a high energy Latin soundtrack, Cucu's journey is a visual love poem to the sites, sounds, and people of Cuba.

In a tenement in a poor Havana neighborhood, four men are playing a game of dominoes: Rodríguez and Nicanor versus Sangremono and Pepe “the Victim.” Once the game has begun, Rodríguez suddenly mentions that he has heard some astonishing news that concerns the future of the country and every one of its inhabitants…

A world record, an accident, a heroic act, a matter of scientific interest. All this happens simultaneously. The editorial board of the newspaper La Avanzada must decide what goes on the front page.

Roberto Hurtado suffers from a rare disease that requires massive transfusions of blood from children or adolescents. His son blackmails three employees to get blood for him and they resort to unscrupulous methods to obtain it.

Nicanor, a Health Ministry employee, returns from a trip to Germany bringing some sex toys with which to spice up his marriage. His wife Ana is reluctant at first, but Nicanor insists on using the devices and talks to his friend Rodríguez, who speaks German, to have him translate the instruction booklet. However, the shortages and the need to survive in today’s Cuba will play one dirty trick after another on them…

It's an open wound. With Estrés, Marilyn Solaya doesn't seek to tell stories: she exposes them, shakes them up, leaves them unanesthetized. In six intertwined stories, the director turns everyday life into an emotional battlefield, where poverty, love, illness, and dignity clash relentlessly.

A blind woman living alone in the country tells tales to a criminal holding her captive to keep him calm.

In 1950s Havana, a romance blooms between two young revolutionaries whose clandestine printing press publishes pamphlets meant to stir up rebellion against the dictatorship of Fulgencio Batista. As their popularity grows, so, too, does their revolutionary zeal and their desire to mobilize other urban guerilla units.

At the elementary school where Evita, Nicanor’s daughter, studies, the parents are instructed that the children must bring photos of various independence heroes for an important activity the next day. That night, when he discovers that they do not have any photos of heroes at home, Nicanor will have to go out and look for them, no matter what it takes.

A lesbian, an aspiring actor, an aspiring singer, a low-class marriage, a neighborhood community and 2 renowned directors have memorable less-than-24-hour-long experiences while living in/visiting the capital of Cuba.

Cuba, 1961. A young teacher arrives with the intention of teaching a peasant family to read and write…

Nicanor, his wife, and his in-laws watch Cuban television. In a single twenty-minute shot, the differences surface between Nicanor, who supports the Revolution, and his father-in-law Damián Rodríguez, a former Batista supporter. The two women try in vain to mediate, and the conflict seems irreconcilable. However, they have no choice but to make up with each other every night.

Nicanor has just finished the ritual of preparing himself a gourmet coffee when two strangers knock at his door. They identify themselves as members of State Security, who have come to install microphones in his house to listen to the antigovernment remarks Nicanor makes. Since they only have two microphones, they ask for his help in choosing the best room to install them and tell him that from now on he can only make his comments in that room.

Nicanor has been arrested for doing graffiti at three in the morning. Against all logic, the graffiti is in favor of the government. The police captain who interrogates him—a cultured policeman, for a change—tries to understand why he does it.

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."

Ricki travels to Cuba after many years to meet his girlfriend Beatriz, but she has changed a lot; Claudia, in a desperate search for money to buy a house, tries to scam a drug dealer; and Celina, a necrophiliac prepares to spend a weekend with a corpse.. Three dark love stories that, thanks to various unforeseen events, will intertwine until they become the revelation of the plot of a film that at the end of the story illuminates the drug dealer.

Havana, 1974. Almost every day, Ana puts a cuban flag on the balcony. The flag is faded and full of stains. Ana suggests to her husband Nicanor to get another one. From there the couple will be doomed to unexpected complications...

Cuba has changed in the near future, but Nicanor and his friends still meet in a park to talk about politics…

At an unspecified event, everyone votes in favor. Unexpectedly, there is one vote against: Nicanor O’Donnell’s. When Nicanor goes to the bathroom during the intermission, some curious delegates follow him, eager to find out why he dared to vote against. The suspicion that someone is locked in a stall, listening to everything, turns their sympathy into mistrust toward Nicanor. But the one locked in the stall is also a poor wretch.

Argentine 40-year-old Laura, visiting Cuba for the first time on business, is divorcing her husband back in Buenos Aires. She's soon involved with smooth-talking cab driver Frank. Garment manufacturer Francisco, having lost his wife, children, and home, has traveled to Cuba to kill himself, but Frank's mother realizes that Francisco is the teenage lover who got her pregnant. In other relationships, a gay couple argue over whether or not to remain in the closet, and two documentary filmmakers have career conflicts.