The three films have the greatest virtue in conceiving their plots as immersions in the emotional and rational universe of migrant individuals. Before escaping into the time of history - an aspect of particular concern to the filmmakers, themselves inscribed in their narratives - these films deal with the singular experiences of their characters. The crisis of the nation is experienced from the individual body (the very idea of nation is questioned/reformulated by these works). That is why Beltrán lets the videos taken by the people with their cell phones during the journey exhibit the pain and violence of those hours: their imperfections, their poor visual quality, are the aesthetic testimony of violent misfortunes. The erratic, wayward words of the protagonist of Un homme sous son influence, who tries to express ideas in very precarious English and French, are a metaphor of the impossibility of finding a complete version of himself in the midst of a cultural fracture. Yero's poetic approach to staging is the ideal way to apprehend, through the recording of the successive states of the body, the sensitive vibrations of his characters.

Yero rented an apartment in Moscow in order to explore the shaken subjectivities of Dariel Díaz, Daryl Acuña, Eldis Botta, Juan Carlos Calderón; there he staged their daily routines. In the documentary, each character seems to inhabit the place alone, and we see them sometimes lying on an armchair, sometimes in the kitchen talking on the phone, or lying in bed, sometimes working online, and sometimes recording reels for Instagram in the bathroom... This principle of realization somehow assumes the state of suspension in which the characters find themselves and favors their cuir identities to contaminate the form. The planned visual design, the static nature of the image, its pronounced plasticity, reinforce the sense of failure, encirclement, loneliness and uncertainty about the future. The complex gaze of Llamadas desde Moscú reveals in the subjectivity of its characters the departure from Cuba as success and the experience of immigration as failure; as it also happens in Un homme sous son influence.

For the young people in Calls from Moscow, the climate, the linguistic difference, the homophobic Russian laws and the illegal status make integration into the new reality complex, not to mention the health situation unleashed by the coronavirus and the symbolic gravitation of the war. For the eponymous protagonist of Emmanuel Martin's film - played by himself - the constant flight of a possible partner, played in each intervention by a different actress, is a mirror of his difficulties in consolidating ties with the country of destination; always surrounded by other migrants, always moving on the margins, he experiences a tension between the place of origin and the new context that subjects him to a vicious flight from himself.

Just as Martín assumes his protagonist, in an autofictional wink, Beltrán and Yero enter the scene in their documentaries, they let their voices be heard when they conduct interviews. This need to make transparent the instance that cuts out reality makes it clear that these films -especially documentaries, generically afflicted by a stubborn demand for objectivity- specifically convey the perspectives of the phenomenon that interest their authors.