Pavel Giroud

Tandis que La Havane est prise d’assaut par une armée de zombies assoiffés de chair humaine, les médias officiels laissent entendre au monde entier que ce désordre est le fait d’un groupe de dissidents politiques soutenus par le gouvernement américain. La ville est prise de panique jusqu’au moment où Juan vient à la rescousse. Il a en effet découvert qu’il pouvait tuer les morts vivants en réduisant leurs cerveaux en bouillie, et il décide donc de monter sa propre affaire sous le slogan : « Nous tuons vos « chairs » et tendres ! ». Juan parvient ainsi à se faire un peu d’argent de poche en dézinguant les morts vivants.

The history of Latin jazz in Cuba from the Orquesta Cubana de Música Moderna to Irakere.

Havana, spring 1971: The poet Heberto Padilla has just been set free and appears before the Cuban Writers' Union where he pronounces a statement of "heartfelt self-criticism", declares himself to be a counterrevolutionary agent and throws accusations of complicity at many of his colleagues present at the event, among them, his wife. A month previously, his arrest under the accusation of endangering the security of the Cuban state had mobilised prominent intellectuals all over the world, who wrote a letter to Fidel Castro calling for the release of the poet, whose only sin had been to dissent through his poetic work. The writer's mea culpa, the recording of which is shown for the first time to the public, marks the narrative line of a story including the testimonies of Gabriel García Márquez, Julio Cortázar, Mario Vargas Llosa, Jean-Paul Sartre, Jorge Edwards and Fidel Castro.

The "edad de la peseta" or silly age is the term used in Cuba for the pre-adolescent period from the age of seven to the age of eleven. Set in 1958 in Havana, the year that culminates the Revolution, ten-year-old Samuel has just arrived in town with his recently divorced mother. They take up residence in the house of his eccentric grandmother Violeta, and Samuel is introduced to a new, mysterious world where Samuel finds himself an adult in comparison to his child-like mother.

He was the bodyguard of the most-feared Gangster in Cuba in the first half of the 20th century. Now he is an elderly man who looks on passively at the triumph of the Cuban Revolution. His old boss, who was forced to flee, calls on him to undertake another mission: safeguard the gold hidden in his mansion while he is away. He and two other men, who are there to assist him, develop a plan to take possession of the gold. For the plan to work out all they have to do is enter the mansion, neutralize the house servant and take the gold to a more secure place.

The history of Latin jazz in Cuba from the Orquesta Cubana de Música Moderna to Irakere.

Playing Lecuona is a musical journey through the works and living spaces of Ernesto Lecuona, the internationally acclaimed Cuban pianist and piano composer. Serving as guides through Lecuona’s music are three of the most gifted Latin jazz pianists in the world: Chucho Valdés, Michel Camilo, and Gonzalo Rubalcaba. Valdés fuses Latin jazz together with Afro-Cuban rhythms in Lecuona’s native Havana; Camilo recreates elegant aural soundscapes in New York and the Canary Islands; and Rubalcaba fuses jazz and flamenco in Seville, the heart of Andalusian Spain. Together, these three musicians provide a rich portrait of Lecuona’s music and its lasting influence.

Playing Lecuona is a musical journey through the works and living spaces of Ernesto Lecuona, the internationally acclaimed Cuban pianist and piano composer. Serving as guides through Lecuona’s music are three of the most gifted Latin jazz pianists in the world: Chucho Valdés, Michel Camilo, and Gonzalo Rubalcaba. Valdés fuses Latin jazz together with Afro-Cuban rhythms in Lecuona’s native Havana; Camilo recreates elegant aural soundscapes in New York and the Canary Islands; and Rubalcaba fuses jazz and flamenco in Seville, the heart of Andalusian Spain. Together, these three musicians provide a rich portrait of Lecuona’s music and its lasting influence.

Havana, spring 1971: The poet Heberto Padilla has just been set free and appears before the Cuban Writers' Union where he pronounces a statement of "heartfelt self-criticism", declares himself to be a counterrevolutionary agent and throws accusations of complicity at many of his colleagues present at the event, among them, his wife. A month previously, his arrest under the accusation of endangering the security of the Cuban state had mobilised prominent intellectuals all over the world, who wrote a letter to Fidel Castro calling for the release of the poet, whose only sin had been to dissent through his poetic work. The writer's mea culpa, the recording of which is shown for the first time to the public, marks the narrative line of a story including the testimonies of Gabriel García Márquez, Julio Cortázar, Mario Vargas Llosa, Jean-Paul Sartre, Jorge Edwards and Fidel Castro.

Havana, spring 1971: The poet Heberto Padilla has just been set free and appears before the Cuban Writers' Union where he pronounces a statement of "heartfelt self-criticism", declares himself to be a counterrevolutionary agent and throws accusations of complicity at many of his colleagues present at the event, among them, his wife. A month previously, his arrest under the accusation of endangering the security of the Cuban state had mobilised prominent intellectuals all over the world, who wrote a letter to Fidel Castro calling for the release of the poet, whose only sin had been to dissent through his poetic work. The writer's mea culpa, the recording of which is shown for the first time to the public, marks the narrative line of a story including the testimonies of Gabriel García Márquez, Julio Cortázar, Mario Vargas Llosa, Jean-Paul Sartre, Jorge Edwards and Fidel Castro.