Since the 2003 premiere of Fernando Perez's documentary film Suite Habana, newer treatments with a greater fictional component have questioned the Cuban tradition of nonfiction filmmaking, with its predominantly testimonial character and social themes. Three essential works of the past two decades are Humberto Padron's Family Video (2001), Susana Barriga's The Illusion (2009), and Miguel Coyula's Memories of Development (2010). In the past three years, a series of independent short- and medium-length films, directed by young filmmakers, has emphasized a nonfiction that is increasingly removed from the preponderant currents of the epic period of the Cuban Revolution, as they insist on critically approaching social questions and employing formal reflexive methods.
