This panel explores forms of organizing time and ideology in postmodern Cuban literary and filmic narratives that shed light on postrevolutionary perspectives in Cuba, or perspectives that engage critically with the history of Cuba, including the history of the revolutionary state from 1959 to the present. . This conversation promises to highlight postmodern formal strategies that authors and directors have used to reframe historical debates about the nature of the revolutionary Cuban state and its discursive configuration “as” a revolution rather than a state. These discussions inevitably extend to the subjective implications of the revolution-state, reflecting on key instances of Cuban literature and film have provided meaningful critiques and revisions to the historical narratives promoted by the state. By examining the literary and cinematic forms of refiguring the revolution through Cuban cultural production, this panel aims to offer insights into the diverse ways in which Cuban society has engaged with its revolutionary past and present. Through an interdisciplinary approach that draws on film studies, cultural studies, and historical analysis, the panel provides a deeper understanding of how the past continues to shape the present and future of Cuba, and how cultural production serves as a site of contestation and negotiation.

The intersection of literature, cinema, and historical discourse provides a multifaceted exploration of the socio-political landscapes of Cuba and the Caribbean. Antonio Cardentey proposes that Benítez Rojo's novel El mar de las lentejas (1979) serves as a reimagining of early Caribbean chronicles, probing the ontogenesis of the region within the context of capitalist accumulation and the Enlightenment. By unraveling the "performativity of disgust," Benítez Rojo crafts an allegory that recontextualizes the Cuban Revolution within the broader narrative of Caribbean utopias.

Furthermore, Maria Cumana argues that Nicolás Guillén Landrián’s filmography challenges the ideological underpinnings of the Cuban Revolution, epitomized in documentaries produced during the 1960s and 1970s. Despite facing expulsion and censorship, Guillén Landrián's films resurfaced in 1999, sparking a reevaluation of his cinematic legacy. Subsequent documentaries, including Landrián (2023) by Ernesto Daranas, delve into Landrián's defiance and its implications for Cuban cinema and society.

Meanwhile, Isdanny Morales Sosa examines Gretel Marín's documentary El último país (2017) that navigates the complexities of identity and belonging within the Cuban landscape. Marín's exploration of her family's history intertwines with broader themes of Cuban revolution and disillusionment, reflecting the generational disconnection from revolutionary ideals. Drawing on Marianne Hirsch's concept of postmemory, Marín's documentary encapsulates the struggle of young Cubans to reconcile their heritage with contemporary realities, epitomized through her grandfather's role in the revolution.

Lastly, Ivonne Cotorruelo argues that cinematic narratives like El Rodeo and Gloria Eterna offer alternative perspectives on power and resistance in Cuba. Directed by Carlos Melián and Yimit Ramírez, respectively, these films challenge established power structures and envision potential horizons of change. Through mise en abyme techniques and dystopian narrative constructions, these filmmakers dissect the complexities of power dynamics and resistance, reflecting on the role of independent cinema as a medium for critical reflection in post-revolutionary Cuba.

Together, these literary and cinematic explorations offer nuanced insights into the historical, political, and cultural landscapes of Cuba. Through the lens of literature, film, and documentary, this panel evaluates formal approaches to postrevolutionary disillusionment, and resistance, shedding light on the enduring legacies and contested narratives that shape contemporary Cuban identity and discourse.