The Cuban video image is visceral and cerebral , but always in flux: it passes from illustrative and declamatory profiles to a mixture of visual codes. It has in common with Latin American experiences the mix of poetic and provocative meanings, as well as high and low formal expedients. He takes to the streets and enters into relationships with subculture, neighborhoods and forgotten corners (as with artists Javier Castro, Juan Carlos Alom or Lázaro Saavedra). It gives space to the body and its most hidden impulses, embodying the energy of the polytheism of Santería (called Regla de Ocha, or Lucumí). And it interprets precariousness, social potential and forms of survival.

Furthermore, he is wary of political strategies that cling to the symbols of the nation in a rhetorical manner to face a society in crisis, changing and in constant turmoil. In fact , it discusses the official versions of reality and history by exploring and recovering a "shared" cultural repertoire, made explicit by dance, sounds, voices and common language as essential experiences in which to immerse oneself.