In this material, dissimilar themes about audiovisual production in Cuba from Triumph of the Revolution to the present are addressed without avoiding aspects of Tony's life and work.
In SIRACUSA, to the "classic" elements of the documentary, the interview, the film essay, the visual poetry and the making off are merged; all of them deliberately, freely.
In the country's attempt to be nicknamed Cuba, the sharpest film critic of his generation, takes action on audiovisual production from and outside the fence of the Governing Institution... in a kind of journalistic parody that questions (the non sense ) of the political, social, and artistic future, from a clumsiness that wants to be a transcript of the status quo (and creative ethos), appealing to the recurrent underlining of kitsch, as a last resort.