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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