Actress and screenwriter Claudia Muñiz discusses her experiences with racism and exoticization in the acting world, particularly in Spain where she feels uncomfortable with unwanted physical attention. She recalls her mother introducing her as a 'pretty mulatica,' a term she later understood as part of racial discrimination. Muñiz has faced challenges in being cast for roles due to not fitting into stereotypical racial categories. She has worked on various projects, including co-writing the film 'Marina' and acting in '7 Days in Havana.' Muñiz is developing a series called 'Papel Cartucho' through crowdfunding, which will explore her experiences and those of others facing similar racial ambiguities. The series aims to address the complexities of racial identity and the feeling of not belonging to any particular racial group.

Elena Llovet, a Cuban artist with a background in theater, discusses her efforts to subvert the leftist narrative about Cuba by engaging deeply with her personal experiences and body in her art. She highlights the constant state of vigilance and paranoia experienced by Cuban artists and the challenges of expressing her reality in a politically charged environment. Llovet's work aims to deconstruct idealized views of Cuba, particularly those held by leftist intellectuals and artists, by incorporating elements of performance and personal biography. Her research delves into themes of violence, both in the context of sexual work in Cuba and political violence in leftist circles in Spain. Llovet emphasizes the importance of committing the body to her art to challenge and expand the boundaries of socially accepted norms.

Carlos Liscano, an Uruguayan writer and former Tupamaru militant, asserts in his book 'Cuba, de eso mejor ni hablar' that after visiting Havana in 1987, he realized that if he were Cuban, he would be imprisoned. He describes the popular revolution promoted by the Castro regime as a complete deception.

Bertha Soler is portrayed as an exceptionally free-spirited woman whose smile and welcoming nature remain untainted despite the challenges she faces. The narrative highlights her singular passion for Cuban freedom, overshadowing her personal dreams and passions.

Gema Corredera, despite feeling she still has much to learn about singing, embodies a hopeful and resilient spirit. She speaks about Cuba, the light she finds in political prisoners, and her pride in her students. Her dream is a choir of freedom.

María Matienzo Puerto shares her personal experiences of living in Cuba, detailing the constant presence of fear and the oppressive political environment. She recounts her journey from being a theater editor to writing about politics for Diario de Cuba, facing interrogations and police harassment. Matienzo describes her childhood poverty, the societal pressures, and her decision to sell a gold ring to afford school supplies. She narrates her defiance against the educational system's restrictions and her transition into journalism, where she confronts totalitarianism and censorship. Despite the risks, she continues her work as a journalist and lives with her girlfriend in Cuba, under the protection of the Inter-American Commission on Human Rights, while aspiring to travel the world.

In a fragment of a crime novel in progress, Elizabeth interviews a character known as La Lagarta, who is undergoing a transformation process, becoming part of a circus. The narrative explores La Lagarta's unique changes and her interactions with Elizabeth, who seems to be a promoter of the circus. The story delves into La Lagarta's fears and the mysterious death of a lizard, which leads to a confrontation with a cat named Javá, suggesting a territorial dispute.