ranking actors like Carlos Enrique Almirante , Luis Alberto Garcia , Néstor Jiménez , Tomás Cao , Broselianda Hernández , Jazz Vila , Héctor Medina , Pancho Garcia , Aramis Delgado , Héctor Noa and Carlos Miguel Caballero . It was also noteworthy Mark O ' Halloran ´ s photography ( Viva ), the minimalist music by Juan Piñera ( Green ...) and the artistic direction by Nieves Lafferte ( Green ...). All these movies show how the filmmakers expressed themselves in different ways and how the actors could handle many challenges , but the films were not successful in the marketplace . The tendency to produce films with homosexual themes was running against a large heterosexual public . They rejected such kind of cinema based on irreverence and provocation , like the young Almodóvar or Buñuel . In addition to the heterodox sex scenes , the films presented marginal , violent and eschatological stories , which shine a light on the opaque urban subproletariat and declassed peasants . They also brought scandalous and provocative topics like corrupt cops , crime , drug abuse , mistreatment , prostitution , homeless children , pseudophilosophers , torn homosexuality and sordid drama , without humor or any sense of social reconciliation . The scandalous film materials pretend , like the surrealists , to épater la bourgeoisie , but they also rebel against socialist realism , well-established in the cinema made by Alfredo Guevara , Santiago Álvarez and Julio García Espinosa . An unconventional cinema has risen and directors like Lester Hamlet , Juan Carlos Cremata and Miguel Pineda are paradigmatic , among other things , because they approach the themes from their own sexual preferences and vital experiences . They dissociate themselves from other social urgencies and focus on the sordid , marginal and peripheral aspects of life . In such a way , their movies become scandalous and reprehensible by the greatest part of the adult audience , affected by the bitter expressions on the big screen . For most of the Cuban public , it also begins to turn uncomfortable the mandatory LGBTI insertions in the Cuban and Brazilian soap operas . This Cuban-style unveiling occurs at a time when the control mechanisms operated by the olive-green ruling elite is easing some of its aesthetic ties . Thus , it has a certain parallel to the Spanish aesthetic movement during the 70 ' s , which is referred by many analysts to the Spanish political transition because of the reduction experienced by the Francoist and Catholic censorship , and finally its disappearance . In this period , integral nudes , breasts , pubis and buttocks appeared on the screen , mainly by the actresses . The same issues were already on the rise in light comedies , such as The Monument ( 1970 ) or Virgin Wax ( 1972 ). And by the way , the latter was the movie selected for opening the cinema theatre Jigüe , equipped with a 70-mm projector and located in the centric intersection of Galiano and Neptuno . However , that renovating cinema did not have the destabilizing charge brought by the Manchego Pedro Almodóvar . From him , the Cuban cinema takes much for approaching the homosexual themes . According to journalist Yusimí Rodríguez , an LGBTI activist , the Cuban cinema on homosexual themes was often accompanied during the last decade by opportunistic introductions . They paved the way for entering the fashion that overflows the audiovisual media . The best examples are the movies Fable and Long Distance ( 2010 ). Lesbian stories are absent , perhaps because a man dressed as a woman is simply a fagot , while a woman dressed as a man is a poorly dressed woman . To support the rule , there are exemplary films such as Iris ( 2002 ) and Long Distance , which
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