receives a lot of sponsorships from Cine Cubano. Thanks to these sponsorships, the ICAIC have money on financing films, training filmmakers and educating audiences. Due to the U.S. monopolization, ICAIC only produced about eight or nine features in a year This was not healthy to the Cuban film industry. After that, the US trade embargo made the Hollywood films become less accessible to Cuba. To Cuban cinema, it was about time to explore something new from other countries and not rely on the U.S. production. To keep Cuba's theaters going, the ICAIC imported a large number of movies from France, Italy, Japan and other countries, which creates a great diversity. For audiences, it is a great chance to know more different cultures from movies, and then they can enhance the culture exchange and stimulate a new way of thinking. In the 1970s Cuba continues in a circle of underdevelopment. The communist Castro government focused on the agricultural development, especially in sugar production, in 1969, which called the Year of the Decisive Effort. The aim was to produce a ten-million-ton sugar harvest in 1970, which it failed to achieve. Due to the sugar production project, the government tightened the control on subsidizing the ICAIC. Therefore, Cuba cinema entered a "gray period" in the 1970s. ICAIC suffered many problems such as limited financial and technical resources. The number of audiences who are willing to go to the theaters decreased due to the growth of the television in the 1970s. Comparing to the very productive period of the 1960s, an overall decline in quality exists in the 1970s. During that decade, some of the young directors trained abroad returned to Cuba and contributed to the Cuban film industry after training. Although the films were not extraordinary, it helped maintain the Cuban film industry. In 1979, ICAIC establishes International Festival of the New Latin American in Havana. This festival is to celebrate the Latin American cinema by gather outstanding directors, producers and people who contributes to Latin American's film industry. Moreover, it is to bring world attention to cinema from Cuba and the rest of Latin America. In the 1980s Cuba in the 1980s had not fully escaped the economic legacy of its past. Despite of the economic influence, the passion of the ICAIC on education through cinema did not decline. ICAIC started working on international coproduction with Spain and the Soviet Union. During