Strawberry and Chocolate

In Havana, 1979, David is rejected by Vivian, who soon marries an older, wealthier man. His personal setback coincides with his first steps as a university student, exposing him to a city under political strain. The heartbreak propels him toward new, more burdensome concerns about love and ideology.

David meets Diego, a gay artist who challenges Castro's censorship and the state's stance on sexuality. Diego's charisma and radical views ignite a tension between art, politics, and desire. Their first interaction foreshadows a complicated alliance.

Miguel, a heterosexual classmate, plans to use David to spy on Diego. David agrees to relay information to Miguel, presenting a platonic rationale while feeding him details. The arrangement soon strains David's friendships and complicates his feelings toward Diego.

Diego reaches out to David with romantic and sexual hints, testing the boundaries between them. David mostly rejects advances but keeps the growing connection in play. The fragile bond becomes the axis of the story's moral tension.

David commits to the spying plan to relay information back to Miguel. He frames their relationship as strictly platonic while deepening his involvement with Diego. The dual loyalty pulls him between personal desire and political loyalty.

Nancy, a vigilance who lives above Diego, attempts suicide. David arrives and donates blood to help her recover, a gesture that shows his capacity for compassion beyond political games. The moment heightens the emotional stakes for David and Diego.

As David spends more time with Diego, they argue about communism, sexuality, and what constitutes true revolution. Their debates reveal deep personal and political rifts within both characters. The conversations push their relationship toward a more intimate, but still unsettled, phase.

David reports their activities to Miguel and finally erupts, insisting that Diego has principles despite his sexuality. He refuses to reduce Diego to a stereotype, signaling a shift in his loyalties. This moment deepens Miguel's suspicion and complicates the spy plot.

Vivian tries to reconnect with David and begin an affair, hoping to reclaim their past. David rebuffs her advances, choosing to distance himself from Vivian's world. The rejection marks a move toward a more authentic, if precarious, relationship with Diego.

David begins to show genuine affection for Diego, buying him flowers and posting Marxist icons in Diego's room. He also lets Diego read his manuscript, sharing his inner thoughts and political beliefs. The line between friend and lover becomes increasingly blurred.

Diego and German can’t exhibit their full collection, facing bureaucratic pushback from the museum. Diego fires off an angry letter to museum curators and loses his job, becoming effectively blacklisted. He is relegated to manual labor, cutting him off from the official art world.

Diego sets Nancy and David up, and David loses his virginity to Nancy as their feelings deepen. Nancy's romantic interest in David grows alongside his connection with Diego. The situation tightens the web of relationships around David.

Miguel arrives at Diego's apartment, accusing David of being homosexual and pressuring him to conform. The confrontation underscores the political stakes of personal identity in a repressive climate. David's loyalties are put to the test as the spy plot frays.

Diego decides to leave the country but cannot keep his departure secret from David. He confesses his love for David and explains that it was not the rumors that led to David's public outing. Their moment clarifies their feelings, even as circumstances pull them apart.

David embraces Diego after the confession, but their future remains unresolved within Cuba's political climate. The film ends on a note of hope tempered by uncertainty, suggesting that personal love faces broader social gatekeeping. The final image lingers on the possibility of what comes next.