family in Miami after decades apart. Rather than address political themes in a direct way, these films focus on personal issues related to adaptation and culture shock. Honey for Oshún (2001) by Humberto Solás, a Cuban director who remained in Cuba, addresses the clash between Cuban-Americans returning to the island and those who never left. It hints that reconciliation is possible, as long as those who return are willing to accept Cuba on its own terms and not force capitalist ideology on the Cuban people. In Cuba, films made by Cuban-Americans or Cubans in exile are not widely distributed or well known, in part because the films deal with the Revolution in a negative light, but also because Cubans on the island dispute the notion of a Cuban diaspora and believe that those who live in exile no longer represent Cuban reality in an authentic light. They take the position that directors who experience life outside Cuba represent Cuba through a distorted lens, and that the films they make are largely works of propaganda. Many important Cuban actors now live in exile. Among them are César Évora, Anabel Leal, Reinaldo Cruz, Francisco Gattorno, Reynaldo Miravalles, Tomás Millán, William Marquez, Orestes Matacena and Isabel Moreno. Cuban American actors who were born in Cuba but grew up in the U.S. include Andy García, Steven Bauer, William Levy, and Tony Plana. International co-productions The international co-production of films has become very important for the cinema of Cuba and also for the rest of Latin America. An internationally co-produced film is one in which two or more production companies from different countries are involved, or the financing has been sourced from more than one country. Co-productions are becoming increasingly common today but even as early as 1948 were common between Cuba and Mexico. International co-productions began to take off in the 1960s and 1970s, many with the aim of increasing political awareness and highlighting common problems in Latin American countries. Before its dissolution, the USSR also played a role of co-producing films in Cuba such as Mikhail Kalatozov's I Am Cuba. The increased importance of co-produced films was inevitable due to globalization, and in the case of Cuba especially, due to a lack of economic resources. A film created with the cooperation of two or more countries nearly always guaranteed distribution in both countries, resulting in a greater audience and increased revenues. This also