Between the statement made by that person in The Zero Option and the question that the director of Ventanas asks himself ("Did leaving the country solve my problems or did it generate other problems that I didn't have before?"), the respective discourses of the documentary Llamadas desde Moscú and the fiction feature film Un homme sous son influence can be placed.

'Calls from Moscow' delves into the experience of emigration. Yero turns an apartment into a metaphor for the emotional and physical confinement of a group of young people in an expectant Moscow in the face of a war with unsuspected effects. The filmmaker converses with his characters until he realizes that the illusion of exile - typical of the Cuban imaginary of emigration - is often a fallacy. Emigration always promises an uncertain destiny. Their cuir bodies are the only home that these young men, whose subjectivities in crisis face an uncertain future, inhabit in freedom. Un homme sous son influence also presents a subjectivity in crisis, a conscience tormented by uncertainty. Emmanuel Martin himself assumes the representation of himself as an emigrant through a weaving of scenes tinged by the absurd, in which Romanian, Mexican, Indian and Cuban emigrants converge. United by existential dislocation, in a society that expels them to the margins, these characters live emigration as survival, as the dilation of a dream that never seems to come true. The story articulated by Martín is as schizoid as the voices of his protagonists, who seem to come out of an American indie production of the seventies; but therein lies the potential to illustrate the illusions of beings harassed by routine and labor exploitation. In both Llamadas desde Moscú and Un homme sous son influence there is no freedom, so longed for by the exiled subject; on the contrary, exile is restriction, oppression, death in life?

A similar perspective on immigration, but from the point of view of those who stay behind, is offered by the Haitian short film Agwe, by director Samuel Suffren. It tells the story of a family fractured by the imperative to leave the country in search of a better life, no matter the cost. Agwe is named after a deity of the sea in Haitian vodou; the protagonist makes an offering to her after waiting ten years for her husband, who left on a sailboat bound for the United States. Waiting, loneliness and uncertainty constitute the expressive core of a work where the image is enough to encrypt the historical breakdown of a culture, perhaps due to imperatives equivalent to those that push the Cubans presented in The Zero Option to risk their lives in the Darien jungle. In any case, the individuals present in both films, as in Los puros, Camino de lava, Abisal, Hojas de K., El rodeo... are now, in one way or another, subjects on the run, beings engaged in building their stories.

Popular religions and skin color as sources of identity, indexes of the subject's historical evolution, have an important place in the documentary Lava Road. Just as it is impossible to understand Agwe without looking at the history of Haiti and the current fate of its society, it is impossible to glimpse the discursive scope of Grethel Marín's film without a minimum idea of the place of the Afro-descendant subject in Cuban life. Camino de lava delves into the relationship of a black lesbian woman, Afibola, and her young son, Olurum. The testimonies of this woman - an Afro poet and cuir activist who participated in the construction of the script - present her concerns about her son's social place and his future. Her words sketch a family model capable of challenging the macho conservatism, racism and gender violence that plague "the outside" of Central Havana and the country as a whole. Streets and institutions are enclaves of segregation and violence; the home is a space of resistance that gives identity.

Mafifa explores a social habitat where (symbolic) violence, conditioning gender relationships, almost condemned Gladys Esther Linares to oblivion—the only woman who has integrated the mythical Conga de Los Hoyos in Santiago de Cuba. Daniela undertakes a documentary road movie to rescue Mafifa's memory while examining the singularity of a human and social environment: characters, houses, neighborhoods, and other spaces in the city, as well as celebrations, parties, and, in general, cultural practices that define and explain a way of existence. By investigating the universe of values around the bell-ringer, scrutinizing her traces in the memories of those who knew her, Muñoz Barroso also attempts to know herself a little more, and that premise orchestrates the original autoethnographic experience unfolded in the film, similar in certain aspects to what is shown in Ventanas.