When Nicolás Guillén Landrián died in Miami in 2003, it had been just over 30 years since he’d made his last Cuban film. In the intervening period he was ostracised by the state, his films banned, eventually going into exile in 1989. In 2019 Ernesto Daranas started a concerted effort to restore his films from the materials in the Cuban film archives. Made by Daranas to accompany his restoration work, Landrián attempts to comprehend a filmmaker tragically caught between the desire to follow his vision and a revolution with a different conception of the artist’s role. Landrián oscillates between testimonies of the filmmaker’s widow Gretel Alfonso and his collaborator Livio Delgado, with Landrián’s journals and poems, and documents from the Cuban state security files, filling out this sensitive portrait of a filmmaker whose on-screen signature was the phrase “Fin pero no es el fin” – the end, but not really.

1991年，苏联解体，古巴陷入经济大危机。塞尔吉奥是一个为着生计发愁的无线电爱好者和马克思主义教授。谢尔盖则是苏联最后一个宇航员，被遗忘在废弃的米勒空间站里。机缘巧合，塞尔吉奥与谢尔盖联系上了对方，两人建立了友谊，而这段友谊将帮助两人面对各自国家的剧变。

Meet Chala, an eleven year-old boy with a hard life and strong respect for Carmela, his sixth grade teacher. The pair develops a solid bond, but after Carmela suffers an accident, things get complicated…