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The paper examines the relationship of the two men to what was once the ultra modern Central Havana of the mid-1950s. Manolo’s froze on the day he left: his filmed city is silent, immobile, full of ghosts, almost empty, ugly, ruined. Manolo’s Central Havana processes and changes, it is noisy, busy, - but also it is ugly and ruined. Both lament the city as it once was. Only Raul sees hope of reconciliation.
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