Laura de la Uz

Amor Crónico follows Grammy-nominated, Cuban-born CuCu Diamantes as she embarks on a whirlwind tour of her home country. Interweaving glamorous live performances with a fictional romance, the film pays tribute to the history of cinema in surreal fashion. Backed by a high energy Latin soundtrack, Cucu's journey is a visual love poem to the sites, sounds, and people of Cuba.

Ana is a telenovela actress but because of financial troubles resorts to producing a prostitution documentary under false pretences.

Yuli is the nickname given to Carlos Acosta by his father, Pedro, who considers him the son of Ogun, an African god and a fighter. As a child Yuli avoids discipline and education, learning from the streets of an impoverished and abandoned Havana. His father, however, has other ideas, and knowing that his son has a natural talent for dance, sends him to the National Ballet School of Cuba. Despite his repeated escapes and initial poor behaviour, the boy is inevitably drawn to the world of dance, and begins to shape his legendary career from a young age, becoming the first black dancer to be cast in some of the most prestigious ballet roles, originally written for white dancers, in companies such as the Houston Ballet or the Royal Ballet in London.

A lesbian, an aspiring actor, an aspiring singer, a low-class marriage, a neighborhood community and 2 renowned directors have memorable less-than-24-hour-long experiences while living in/visiting the capital of Cuba.

Havana, 1974. Almost every day, Ana puts a cuban flag on the balcony. The flag is faded and full of stains. Ana suggests to her husband Nicanor to get another one. From there the couple will be doomed to unexpected complications...

Based on the life of Benny Moré, the film concentrates on a period in the early 1950s when Moré leaves the orchestra of Duany and starts his own 'Banda Gigante'. In flashback we learn of his success in Mexico. Moré is caught in the events connected to Batista's coup in Cuba. Also, he tours Venezuela, where he suffers the machinations of a vengeful businessman. After collapsing and being hospitalised, Moré swears off alcohol. Some years later, he encounters his old band-mate Monchy, fallen on hard times.

Nicanor, his wife, and his in-laws watch Cuban television. In a single twenty-minute shot, the differences surface between Nicanor, who supports the Revolution, and his father-in-law Damián Rodríguez, a former Batista supporter. The two women try in vain to mediate, and the conflict seems irreconcilable. However, they have no choice but to make up with each other every night.