In the fims: Capablanca, and Mella, important locations can be seen but at reduced complexity according to the life in which the characters develop. In the film: Lucia (part II), there are some architectural locations, but are not the most outstanding, because in this part of the film intimate environments are appreciated, and not highlights the beauty of the architecture in panoramic drawings, as they are appreciated in the clandestine film, Hello Hemingway, and a girlfriend for David. This stage of the historical development of the country, the development of architecture, which includes monumental works such as Capitol, El Presidio model, the national hotels, Riviera, Hotel Habana Libre, etc., and developments in place, which are performed as: strikes, demonstrations, figures of Arts and letters, etc., the development of musical rhythms such as: son, mambo, chachacha, the revelation of the Orquesta Aragon, and Benny More, and Joseito Fernandez, may always be a topic that approaches the eclectic architecture and Neocolonialnext to the modern that develops, and the contradictions generated with little input on the disadvantaged layers of society, in the slums of port, railway, or Jesus Maria, to cite some examples, of these housing contradictions. In the film: birds by pulling him to the shotgun, is seen inside a neo-colonial housing development, and outlets that are made in the exterior of the home, appreciating antique furniture in the banks swings, or the interiors of housing, achieving an adequate form of shot of camera together furniture and interior designs in the homes of its protagonists, interspersed with the legacy hospitals in the Pseudorepublica. The Repertory of Cuban films about the enjoyment of architecture and its links between what is inherited and what is constructed, is observed more in other topics in which its objective isn’t to recreate an environment in specific, and only observed as the second item not implicit, and he recreates them incidentally.