Third World, Third World War
Critical testimony on American war crimes in Vietnam. A film both didactic and conscious of itself, bringing together a number of resources, techniques and documentary styles – a true paradigm of imperfect cinema.
Julio García Espinosa
Director
Also Directed by Julio García Espinosa
The metamorphoses of Juan Quin Quin, in turns bullfighter, guerrilla fighter and sacristan.
An episodic film featuring the musical, choreographic and comedic skills of a variety of actors and actresses.
Cheo visits his friend, Manolo, who he hasn't seen for many years. They drink to celebrate their reunion and fondly recall the times they spent together in years past. As they reminisce, the two friends confront the revolution, evaluate their lives, and bare their souls.
The unfair distribution of land in Cuba encourages the support of the peasants to the revolution.
Pedro is a young peasant who leaves home to join the Rebel Army, based in Sierra Maestra.
Documentary that portrays the life of a coal-mining town south of Havana, around 1955, prior to the triumph of the revolution.
Documentary that celebrates 100 years of cinema in Latin America and talks about the origins and the development of cinema in this subcontinent. Its structure is based in 12 short films directed by various Latin American directors. These are: 1) "Los inicios", Iván Trujillo 2) "Cuando comenzamos a hablar", María Novaro 3) "Jugando en serio", Jacobo Morales 4) "De cuerpo presente [Las espirales perpetuas del placer y el poder] Cine Mexicano [1931- 1997]", Marcela Fernández Violante 5) "Cuando quisimos ser adultos", Edmundo Aray and David Rodríguez 6) "Cinema Novo", Orlando Senna 7) "Memorias de una isla, Juan Carlos Tabío 8) "Un grito, 24 cuadros por segundo", Julio García-Espinosa 9) "El día de la independencia", Federico García 10) "¿Sólo las formas permanecen?", Fernando Birri and Pablo Rodríguez Gauregui 11) "Todo final es un principio", Andrés Marriquín.
Featured in a musical environment possible light anywhere in the world, adapted to a Cuban city makes good use of music. The argument is based on the desires and efforts of middle-income families, to hold a quinceanera at a level greater than that permitted by the economic status of a family.
Urban reform during the first months of the Cuban revolution is the subject of this documentary
