A few years after the Revolution, Havana seems to be a post-war city. EN UN BARRIO VIEJO is a portrait of people who live in an old neighborhood. In LOS DEL BAILE we see people dancing and drinking during a performance of Pello el Afrokán, inventor of the so-called Mozambique Rhythm. The film was not exhibited, because it showed an undesired image when films were supposed to encourage revolutionary heroism. OCIEL DEL TOA is a poetic film about dreams and death: Ociel is a teenager who lives near the Toa river. Life is hard there. In REPORTAJE we see a political meeting of peasants: A rag-doll is burnt in an act of collective exorcism – banned. In RETORNAR A BARACOA we go to a distant and inaccessible place. Between the tradition and the new social order, the small town seems to be a prison with a park – banned. COFFEA ARÁBIGA was commanded as a propaganda documentary to show how to sow coffee around Havana. In fact, Guillén Landrián made a didactic film, exhibited but banned as soon as the coffee plan collapsed. (Manuel Zayas)
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