Shown at Filmex '79, El Super, “the first example of the New Cuban Cinema in Exile,” is an inner-city situation irony about a community of Cuban exiles in New York, its protagonist, Roberto (Raymundo Hidalgo-Gato), a tenement super so demoralized by the urban environment he rarely leaves his flat. As a portrait of Roberto and family, the film touches on problems of most immigrant cultures in the U.S.: Roberto longs for the homeland (or at least for Miami, a poor but acceptable substitute); his wife grapples with pressures to let up on her traditional moral standards, the source of which is an excited, assimilated and street-wise teenage daughter. But El Super, co-directed by Leon Ichaso and Orlando Jimenez-Leal, and based on an award-winning play by Ivan Acosta, reflects the particularly Cuban dilemma in this country, taking a socialist-libertarian, anti-Castro stance while it presents a neighborhood full of differing political opinions (and very verbal people). “El Super is not ‘surprisingly unpolitical' as several critics have claimed. In fact, the situation in Cuba can be felt in every scene” (Village Voice); “...the film bubbles with expatriate politics” (The Nation).