La muerte de un burócrata

Following the revolution, Sergio, an upper middle-class Cuban from Havana finds himself alone when his wife and the rest of his family flee the island to settle down in Miami. Struggling to adjust to the new situation, to the seclusion and the new class relationships, he continues to live his life, goes through a few pathetic love stories, yet is unable to conceal the background that seems so much at odds with the new order.

Eleven-year-old Chala (Armando Valdés Freire) lives with his addict mother Sonia (Yuliet Cruz). In order to provide for the two of them, he raises carrier pigeons and trains fighting dogs with a man who may or may not be his biological father. School provides a stabilizing force in Chala's life, thanks to his close relationship with his spirited sixty-something teacher, Carmela (Alina Rodríguez). When the boy is sent off to live in a "re-education facility" and Carmela mounts a campaign to have him released, she becomes the target of a witch hunt spearheaded by a school board administrator who regards Carmela's permissive beliefs as incongruent with the new Cuba. But the idealistic, strong-willed woman remains defiant and manages to recruit allies from amongst her fellow teachers, leading to a conflict in which one boy's future reflects the systemic dynamics of contemporary Cuba.

Three different characters in a Havana, that always seems to be like today, must choose between clinging to their self-restricting beliefs, or getting rid of them to live more freely. Ballerina Mariana has recently promised God celibacy, if she gets the main role of "Giselle"; Social-worker Julia always faints after hearing a certain word, like other people do in the streets to different words; and percussionist Elpidio was abandoned by his mother named Cuba quite some time ago and has not yet gotten over the loss. Now he fells in love with an northern activist. BONUS: Als Zugabe gibt's den Bergsteiger-Dokumentarfilm mit Daniel Anker, der in den 1990er Jahren eine neue Route durch die Eiger-Nordwand gelegt hat und sie als Liebhaber des Films «La vida es silbar» nannte. Sie erfreut sich bei jenen, die gerne Klettern, als beliebt.

Money and love worries of swimming teacher Aldo and rum factory worker Monica in Melaza, the cradle of Cuban sugarcane. With tangible love for Cuba, the director takes a fresh look at his struggling characters: you can also learn to swim in a piscina without water. In the Cuban village of Melaza, named after the once flourishing sugarcane fields, time stands still. Even when all kinds of things happen, nothing ever changes. The State pretends to take care of everything, but it shuts the rum factory and makes swimming lessons impossible. There's no use complaining, think the inhabitants, that’s just how it is. Melaza is the heartwarming love story of Aldo and Monica, a photogenic couple who live in a much too small cottage with their fat daughter and grumpy grandma. They try very hard to earn some extra money. Their attempts finally get the couple into deeper and deeper trouble. But together, the lovers manage to pull through it. New talent Carlos Lechuga tells his critical story with humour and sparse dialogue, taking us on a journey to the beauties of rural Cuba. Far from the hotels and from Havana, but with a reality familiar to everyone who has ever been to Cuba - or faced a shortage of cash. (Filmfestival Rotterdam)

As in Alice in Wonder Village, Díaz Torres creates a world of his own, where fantasy and reality intermingle. Alice was banned from Cuba three years ago after winning the Silver Bear in Berlin. It resembled reality too much. Despite this, Díaz Torres is one of the few directors who have been able to make a film in his country since the political crisis. In Love Me and You’ll See . . . , Juventino and two of his friends are robbing a bank when the Cuban revolution explodes. Thirty-five years later, Juventino picks up a bag from a beautiful woman who resembles his first love. The bag is filled with money, and Juventino begins a relentless search to find the woman. It is not an easy task, and he has to resort to a clarivoyant. With an excellent performance from veteran Reinaldo Miravalles as Juventino, Díaz Torres entertains us while constructing a unique universe that is both imaginative and moving. (Sundance Institute, Patricia Cardoso-Reneau)

It might take two viewings to grasp fully what Fernando Pérez is doing in "Suite Habana," an elusive but intermittently beautiful tone poem on film. There is virtually no dialogue. There are no story lines that build to a climax, no documentary-style voice-overs. There are just snippets from a day in Havana, so disjointed and seemingly random that it takes a while to realize that Mr. Pérez is focusing on 10 specific individuals, tracking them through 24 hours in their painfully ordinary lives.

The latest documentary by Tristan Bauer took 12 years to complete. It is a unique and invaluable historical document — a jewel not to be missed—that offers us a different, more intimate and personal, perspective on the life of Ernesto Che Guevara than other films about him that have emerged recently. Presenting brilliantly edited archival material, including private documents and intimate recordings that have never been made available to the public before (including recordings of Che reading poems by Vallejo and Neruda to his wife, intimate family gatherings on 8mm, a speech given by Che in French), Bauer allows us to see the iconic figure as a hero but also as the larger-than-life passionate and idealistic human being that he was.

Revisit with the remaining original members of the Buena Vista Social Club and explore their contribution to the unknown history of Cub

In Lucía, Humberto Solás has interpreted the theme of the hundred years' struggle in an entirely novel way to create an epic in three separate episodes: each centred around a woman called Lucía, which takes place in a different period of Cuban history, corresponding to the three stages of Colonialism, Neocolonialism and Socialist Revolution. The three episodes also present us with "Lucías" of different social classes. According to Solás: "Women'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".

Diego and Miguel are both in their mid-forties. They are living in a dilapidated apartment in central Havana without running water or any modern amenities. Miguel earns his money washing dishes in a privately run restaurant; he, his family and neighbours also care for Diego, who is bedridden on account of his HIV infection. While Diego tries to maintain his joie de vivre, Miguel becomes increasingly withdrawn. Only the two of them know about Miguel’s secret: he is planning to emigrate to the USA and is just waiting for his visa. When Diego’s condition deteriorates he is forced to go into hospital and leaves his room to his niece Yusi. When Miguel’s visa finally arrives it’s time for some surprising decisions - and not just for him. Writer, documentary filmmaker and director Fernando Pérez has based his screenplay on the lives of the inhabitants of a tenement building. The resulting film presents a vibrant kaleidoscope of emotions. Unfolding in tranquil images, this story of an unusual friendship also provides an insight into a culture in transition that requires constant flexibility and incredible optimism. A declaration of love to the Cuban capital and its inhabitants.

Mired in the nervous desperation of Havana, Raul dreams of escaping to Miami. When accused of assault, his only option is to flee Cuba. He begs his best friend, Elio, to abandon everything and help him reach the forbidden world 90 miles across the ocean. Elio’s commitment is tested when he is torn between protecting his twin sister and his own desire to get out. Brimming with the nervous energy of Havana’s restless youth and the evocative cinematography of the sun-bleached capital, UNA NOCHE follows one sweltering day, full of hope and fraught with tension, that burns to a shocking climax.

"I dream exactly what I live every day," a professor, bored with her mundane life, tells her therapist. But the visual evidence on screen at the start of "Madagascar" suggests that dreams are never that banal. Bicyclists crowd the street, riding to work in slow motion in a haunting, shadowy blue dawn. The 50-minute "Madagascar" has the resonance and eloquence of the best poetry, as it deftly turns an adolescent's search for identity into a metaphor for post-revolutionary Cuba. Laura is a professor at a shabby, stultifying college. Her daughter, Laurita, stops going to school, wishes to move to Madagascar and quickly races through several phases. One day, she looks like a heavy-metal fan, another like a bohemian who weeps at poetry and art. Slowly, she crosses the line from ordinary adolescent confusion to intense neurosis and beyond, finally becoming so obsessed with religion and good works that she brings 10 homeless children into the cramped house she shares with her mother and grandmother. The film's director, Fernando Perez, creates graceful scenes linked by the merest narrative thread. His compressed episodes make it clear that Laura and Laurita, pre- and post-revolutuonary women, share a desperate search for some purpose in life. When Laura looks wistfully at a photograph of herself in May 1969, it is a rare reference to her political dreams, yet Mr. Perez has created an extraordinary meditation on the lost promise of youth and revolution. (Caryn James, in The New York Times)