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The first thing spectators see when they go to see Sergio and Sergei (2017) is a screen that reads: <\/span>Mediapro<\/span><\/a>. Further on, <\/span>RTV Comercial<\/span><\/a> comes on.<\/span><\/p>\n The first is, according to the firm\u2019s page, \u201ca leading group in the European audiovisual sector, the only one in the integration of audiovisual contents, production and distribution.\u201d The second, the marketing enterprise of Cuban radio and television, which in recent years has been increasingly dedicating itself to the production of its own contents instead of only operating as a seller for the rest of the national entities. Both, together with institutions like ICAIC (Cuban Institute of Cinema Arts and Industry), are the producers of Ernesto Daranas\u2019 new film.<\/span><\/p>\n The previous detail does not suppose a prejudice. That Sergio and Sergei is a fruit of the contemporary cultural industry is barely a data. There is no problem in that, or with the marketing logic associated to a cultural product. Neither is this the case with the idea of a Cuban movie that originates (as most Cuban cinema since a while back) in the combination of transnational financial sources. The problem appears when this has an incidence on the resulting text. And it\u2019s not for the better.<\/span><\/p>\n