
Enchufe sin visa
2016

1979
Director
Leon Ichaso, Orlando Jiménez Leal
Runtime
90 minutes
Average Rating
No ratings yetSynopsis
February, 1978. Roberto and Aurelia are Cuban exiles living in New York City with their 17-year-old daughter. For ten years Roberto's been the super of an apartment building, firing up the boiler, repairing windows, and moving bags of garbage. He's homesick for Cuba, stuck in repetitive conversations about the Bay of Pigs, Castro, and life back home. After receiving some tragic news, Robert makes up his mind to quit the city and move to Miami.
Overall Score
Good
Category Breakdown
LGBTQ+ Representation
The film focuses on a traditional nuclear family of Cuban exiles. There is no explicit evidence of queer characters or non-heteronormative narratives.
Gender Representation
The story centers on standard domestic dynamics involving Roberto, Aurelia, and their daughter. It lacks explicit detail regarding female agency or the subversion of gender hierarchies.
Racial & Ethnic Diversity
The narrative provides a centered perspective on the Cuban diaspora in New York. It prioritizes the specific cultural and political struggles of characters of color.
Religious & Cultural Diversity
The film explores the friction between immigrant identity and the American urban environment. It avoids simplistic views of the American Dream by focusing on political exile.
Disability Representation
There is no mention of characters navigating physical, neurodivergent, or mental health disabilities within the narrative.
Strengths
Areas for Improvement
AI Analysis
El Super offers a sophisticated look at the psychological dimensions of displacement. By centering the Cuban exile experience, the film moves beyond mere socioeconomic assimilation to explore the trauma of political history. While the film excels in ethnic and cultural authenticity, it remains limited in its engagement with other identity markers. The narrative architecture relies on traditional family structures and lacks representation for LGBTQ+ or disabled characters. Ultimately, the film serves as a significant piece of intersectional storytelling by prioritizing the specific cultural history of the diaspora over mainstream, homogenized tropes.

2016

1978

1994

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1976

2018

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2016

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