Started only a week after the Cuban missile crisis and designed to be Cubaâ€™s answer to both Sergei Eisensteinâ€™s propaganda masterpiece, POTEMKIN and Jean-Luc Godardâ€™s freewheeling romance, BREATHLESS, I AM CUBA turned out to be something quite unique â€” a wildly schizophrenic celebration of Communist kitsch, mixing Slavic solemnity with Latin sensuality. The plot, or rather plots, feverishly explore the seductive, decadent (and marvelously photogenic) world of Batistaâ€™s Cuba â€” deliriously juxtaposing images of rich Americans and bikini-clad beauties sipping cocktails poolside with scenes of ramshackle slums filled with hungry children and gaunt old people. Using wide-angle lenses that distort and magnify and filters that transform palm trees into giant white feathers, Urusevskyâ€™s acrobatic camera achieves wild gravity-defying angles as it glides effortlessly through long continuous shots. But I AM CUBA is not just a catalog of bravura technique â€” it also succeeds in exploring the innermost feelings of the characters and their often desperate situations. Shown unsubtitled at the San Francisco International Film Festival, I AM CUBA received two standing ovations â€” during the screening. The first movie ever jointly presented by master filmmakers Martin Scorsese and Francis Ford Coppola, I AM CUBA is one of the great discoveries in cinema. It will change your view of cinema forever!