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With a mix of educational fiction and documentary scenes, the late Sara Gómez, who was practically the only Cuban director at the time, addressed the problems of revolutionary Cuba in 1974. The fiction part focuses on the teacher Yolanda, whose middle-class background makes it difficult for her to understand the peculiarities of slum kids, and her fiancé Mario, a macho and foreman in a bus factory who quarrels with Yolanda's emancipatory views. Cuba, according to the message, is well on its way, but racism, sexism and class barriers still hinder progress towards consistent egalitarianism.

Translated with www.DeepL.com/Translator