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Jennifer Ruth Hosek

The years following the fall of the Berlin Wall saw a wave of interest in a far away nation now largely independent of Soviet influence: Cuba. The three documentary fims that this article treats are a part of this "Cuba wave." Yet, as I argue here, more than simply tales of the Caribbean, Buena Vista Social Club by Wim Wenders and Havanna mi amor and Heirate mich! by Uli Gaulke and Jeannette Eggert are ciphers for competing and unpopular discourses surrounding German (re)unification. As sanctioned narratives of the Germanies increasingly ossify, these films articulate obscured and agonistic visions of national identity in the Berlin Republic.