Nicolás Guillén Landrián

Working alongside Jorge Egusquiza Zorilla, Inside Downtown is a charming portrait of artists and poets of Guillén Landrián’s generation, including the cult Afro-Cuban poet, Esteban Luis Cárdenas.

The voice of a narrator shows the background of the port, its construction, the functions of each facility, the repair of fishing boats in the workshops and the creation of cooperatives and shipyards.

The voice of a narrator shows the background of the port, its construction, the functions of each facility, the repair of fishing boats in the workshops and the creation of cooperatives and shipyards.

A 1972 Spanish language documentary written and directed by Nicolas Guillen Landrian.

Explains the construction process of a house, the installations, the necessary resources and the ingredients in a foundation.

This short film -one of the last made by the Afro-Cuban filmmaker before his definitive expulsion from ICAIC in 1972- alternates shots of the assembly of a vehicle designed for workers' transportation with the exploration of the conditions of workers' representation and political participation in an assembly held in the workshop. The radical disjunction between image and sound interrupts the logic (and etymology) in which the agglutinating force of the "assembly" and the operation of the "assembly" of the parts converge in the dissonant structure of this documentary.

In this short Guillén Landrían weaves together the national revolutionary project with the lunar landing by Apollo 11, Tomás Gutierrez Aléa's iconic Memories of Underdevelopment (1968), advertisements, and the Beatles.

'Coffea arábiga' was sponsored as a propaganda documentary to show how to sow coffee around Havana. In fact, Guillén Landrián made a film critical of Castro, exhibited but banned as soon as the coffee plan collapsed.

'Coffea arábiga' was sponsored as a propaganda documentary to show how to sow coffee around Havana. In fact, Guillén Landrián made a film critical of Castro, exhibited but banned as soon as the coffee plan collapsed.

Nicolás Guillén Landrián was a Cuban experimental filmmaker and painter. Guillén was an accomplished filmmaker. He made a total of 13 documentaries. This one was shot in Pesquero harbour.

Retornar a Baracoa focuses on a town, the oldest in Cuba, that remained accessible only by sea for more than three hundred years. While the documentary showcases government projects to build a radio station, a high school, an airport and a park, the images and voices of the residents leave the viewer with the feeling that all of this may be too little.

People dance during a performance of the Orchestra "The Afrokán". The film was banned, at the beginning of the Cuban revolution, for depicting an unwanted image of the Havana night.

People dance during a performance of the Orchestra "The Afrokán". The film was banned, at the beginning of the Cuban revolution, for depicting an unwanted image of the Havana night.

Ociel del Toa is a poetic vision of the lives and actions of the people along the Toa River, in the Oriente province of Cuba.

Affectionate, experimental short documentary that paints a mosaic of Cuba by focusing on a microcosmic "old neighborhood", where the country's personality slowly emerges through its various dualities: young and old, day and night, sound and silence, Christianity and Santería, civilian life and military presence, poverty and abundance.

Affectionate, experimental short documentary that paints a mosaic of Cuba by focusing on a microcosmic "old neighborhood", where the country's personality slowly emerges through its various dualities: young and old, day and night, sound and silence, Christianity and Santería, civilian life and military presence, poverty and abundance.

Made as part of the Noticiero ICAIC Latinoamericano in celebration of the first Latin American University Games.It is a short film of ten short minutes, dominated by jazz music, which presents, through the typical structure of a report, the arrival of the delegates, their reception, the atmosphere of camaraderie, the training, the parade of participants, the words of Raul Castro at the inauguration, the sports competitions and the final party.

A short 1962 black & white gem by Cuban director Humberto Solás, with Hector Veita, about creating the Escuelas Nacionales de Arte (National Schools of Art) during the euphoric period after the victory of the Cuban Revolution. These art schools are the most outstanding architectural achievement of the Cuban Revolution. But for many years, and up to recently, stood abandoned, consumed by the jungle, outside the western suburbs of Havana. For more about the story of the schools see revolutionofforms.com. Solás' remarkable, taut, little film nevertheless captures the spirit of utopian optimism that characterized the early years of the Revolution.