At the beginning of "La vida es silbar" a woman named Bébé sits on the wall at the Malecón. Even as a woman, Bébé has remained a child who can imagine the world the way she wants it to be. This is even more typical for Cuban cinema than for other cinematographies: one wants to invent the world according to one's own ideas and, in doing so, rely on elements that are familiar to one. Directors like Gutiérrez Alea or Díaz Torres love to play with body language. Many Cuban films are interspersed with ambiguities and more or less clear political winks. The fortune teller in "Quiéreme y verás" predicts "frustración y salvación" for one of the bank robbers before the robbery (and thus: before the revolution) for what is to come. We have brought together a number of key works from Cuba, including "Memorias del subdesarrollo" by Gutierrez Alea and "Lucia" by Humberto Solás, two of the masterpieces of Latin American cinema in general.