El Telón de azúcar

Making a film about a Cuban school could be conceived as an attempt to denounce the lies and propaganda of Communism. Camila approach is more personal, and her standpoint painfully divided. This is revealed by two images: a young man rummaging in a biscuit box for photos of his parents, who were young revolutionaries, and then there is the filmmaker’s school photo. She goes through all her classmates who went into exile, and the list is so long that we understand the only one left is the young man with his biscuit box. The film is the story of the distance that separate these photos, of the country’s history certainly, but first and foremost, the history of a generation, where the small voice of autobiography challenges the official representations of history, whether these be pro- or anti-Castroist.