When the frequent groups of students from U.S. universities and colleges come to Cuba motivated to know part of its cinematographic culture, in general what they know stops at Strawberry and Chocolate (Tomás Gutiérrez Alea and Juan Carlos Tabío, 1993). This is not their fault: the study plans about Latin American cinema of the majority of the U.S. universities are behind the times. This is why, when they are told that starting the first decade of this century a new generation of filmmakers have taken care of almost reinventing national cinema, or that filmmakers like Fernando Pérez transformed and changed the national non-fiction through such an outstanding documentary as Suite Habana (2003), or that Alejandro Brugués changed to genre films with Juan de los Muertos (2011), everything sounds new to them. They discover that Cuban cinema has continued standing and with good health despite an immense economic crisis, the appearance of digital films and the physical disappearance of the founders. Thus the recent abundance of rapprochements to Cuban films of the present in the U.S. academic sphere as well as in festivals, displays and institutions that promote the arts in the United States of America. For example, the Sundance Festival...