Isabel Cristina Santos Téllez

Tito is 23 years old with a mother who loves him and a car that allows him to earn an honest living. His neighbors see him as a formal and educated boy. Nobody knows that behind that façade hides someone with a nihilistic vision of life. And that involves committing terrible acts for which he may have to pay someday. But Tito does not care about the future. There is only the present.

The story of a couple during the stay in the apartment of one of them. During that time, both their emotional states will constantly change due to a love that has consumed them, the promises that have not yet been fulfilled, and the time that has passed and will not return.

Luis é um paciente que não fala ou se move como gostaria, por isso não podemos saber a extensão do seu pensamento. Mas sua mãe pode entender e reproduzir seus desejos ou os seus problemas, de modo que ela viveu imaginando o quanto seu amor chegou até seu filho. A condição imposta a Luis é permanecer em uma instituição mental onde interage com pessoas como ele, com movimento e comunicação limitada. Mas, como qualquer ser humano, Luis tem um forte desejo pela liberdade de sua prisão natural. La Parede de las Palabras é tanto o muro de contenção como o contador das emoções das pessoas que, tais como Luis, não são livres para expressar o seu mundo interior.

Um terraço em Havana. Cinco amigos encontram-se para festejar o regresso de Amadeo, depois de 16 anos de exílio. Do pôr ao nascer do sol, falam da juventude, da fé no futuro que tinham... mas também da desilusão do presente.

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.

In the manner of a well run Greek tragedy, leaving aside one of its components, dragging in its passing narrative certainty by the viewer that violent death is the hallmark of so much misfortune purifier, Los Dioses Rotos crowns the very successful arrival of Ernesto Daranas to the feature domains and with it, the team that accompanied him, including the actors.

Cuba, 1958. Rodolfo is 20 years old and dreams of becoming a movie director. His father is a persecuted member of the revolutionary movement and the family is obliged to flee Havana, taking refuge in a boring village.

Over several years, we follow three households and their emotions in a barrio of Havana. Magalis is a nurse, rarely happy. An older man, Ignacio, professes his love for her; her father and her brother quarrel over her brother's sexual orientation; she thinks about leaving Cuba. Santo's wife Maria is expecting their first child. Tragedy strikes and Santo leaves, drowning sorrows in alcohol and crime while his son grows up in the care of an aunt wondering where dad is. Vivian and Chino are in love, passionate, but childless. The pressures of a society that demands grandchildren strain their relationship.

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Jose Luis, a young boy with aspirations to become a scriptwriter and director of cinema, is dazzled on having known the beautiful Sissy. To impress her, he appears as the director who looks for a not professional actress. She, that the whole life has dreamed of being 'discovered' but that it is not naive with men, pretends not to be interested. They begin a relationship in wich both are not as they wanted to be.

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.