Jacqueline Loss is Professor of Latin American Literary and Cultural Studies at the University of Connecticut. She is the author of Dreaming in Russian: The Cuban Soviet Imaginary (2013) and Cosmopolitanisms and Latin America: Against the Destiny of Place (2005) and co-editor of The Cambridge History of Cuban Literature (with Vicky Unruh, 2024), Caviar with Rum: Cuba–USSR and the Post-Soviet Experience (with José Manuel Prieto, 2012), and New Short Fiction from Cuba (with Esther Whitfield, 2007). Her translation work includes Jorge Mañach’s Indagación del choteo (An Inquiry into Choteo, 2018). She curated an exhibition with Haydée Oliva and the Thomas Nickles Project by the Cuban artist Gertrudis Rivalta and edited Selected Essays on the Work of Gertrudis Rivalta (NYU Hemispheric Institute). FINOTYPE is her first feature-length documentary.

Jacqueline Loss es profesora de Estudios Literarios y Culturales Latinoamericanos en la Universidad de Connecticut. Es autora de Dreaming in Russian: The Cuban Soviet Imaginary (2013) y Cosmopolitanisms and Latin America: Against the Destiny of Place (2005), y coeditora de The Cambridge History of Cuban Literature (con Vicky Unruh, 2024), Caviar with Rum: Cuba–USSR and the Post-Soviet Experience (con José Manuel Prieto, 2012) y New Short Fiction from Cuba (con Esther Whitfield, 2007). Ha traducido, entre otras obras, Indagación del choteo de Jorge Mañach (An Inquiry into Choteo, 2018). Curó una exposición con Haydée Oliva y Thomas Nickles Project de la artista cubana Gertrudis Rivalta y editó Ensayos escogidos sobre la obra de Gertrudis Rivalta (NYU Hemispheric Institute). FINOTYPE es su primer largometraje documental.

Juan Carlos Alom, born in Havana in 1964, is a filmmaker and photographer whose work reflects the experimentation and resourcefulness demanded by Cuba’s Special Period in the 1990s. His films include No Limits (2013), Diario (2009), Iroko (2004), Evidencia (2001), Habana Solo (2000), El método moderno (1998), and Una Harley recorre la Habana (1998). Alom’s photography and films have been exhibited internationally, with recent shows including Juan Carlos Alom: Entre los Elementos (Frost Art Museum), Postales del abismo (Pan American Art Projects), Los elementos (Punctum Gallery, Mexico City), Cuban Analogs (Jorgensen Gallery, University of Connecticut), Havana Solo: The Films of Juan Carlos Alom (Los Angeles), On the Horizon: Contemporary Cuban Art from the Pérez Collection (Pérez Art Museum, Miami), Kunst X Kuba (Ludwig Forum, Germany), and Without Masks: Contemporary Afro-Cuban Art (Museum of Fine Arts, Havana). He has also taught experimental 16 mm film workshops, sharing his technical and artistic knowledge with emerging filmmakers. He has received grants and residencies including the Mellon Artist in Residence at NYU’s Hemispheric Institute and El Espacio 23.

Juan Carlos Alom, nacido en La Habana en 1964, es cineasta y fotógrafo, y su obra refleja la experimentación y el ingenio que exigió el Período Especial en Cuba durante la década de 1990. Sus películas incluyen No Limits (2013), Diario (2009), Iroko (2004), Evidencia (2001), Habana Solo (2000), El método moderno (1998) y Una Harley recorre la Habana (1998). La fotografía y los filmes de Alom se han exhibido internacionalmente, en muestras recientes como Juan Carlos Alom: Entre los Elementos (Frost Art Museum), Postales del abismo (Pan American Art Projects), Los elementos (Punctum Gallery, Ciudad de México), Cuban Analogs (Jorgensen Gallery, University of Connecticut), Havana Solo: The Films of Juan Carlos Alom (Los Ángeles), On the Horizon: Contemporary Cuban Art from the Pérez Collection (Pérez Art Museum, Miami), Kunst X Kuba (Ludwig Forum, Alemania) y Without Masks: Contemporary Afro-Cuban Art (Museo Nacional de Bellas Artes, La Habana). También ha impartido talleres de cine experimental en 16 mm, compartiendo sus conocimientos técnicos y artísticos con cineastas emergentes. Ha recibido becas y residencias, entre ellas la de Mellon Artist in Residence en el Hemispheric Institute de la Universidad de Nueva York (NYU) y en El Espacio 23.

Ismael de Diego (Lead Editor) is a Film and Senior Video Editor based in Brooklyn, New York. He was born in Cuba to a family of poets, scriptwriters, and filmmakers; storytelling was an all-time presence early in my life. Having studied saxophone in the Cuban Music Academy, he pursued a short but intense acting career, films include Havana Blues, La Anunciación, and Guantanamero, and most of his formal film education was focused on photography. In 2002 he started his career as an editor in Cuba with a series of documentaries for ICAIC, and in 2004 edited the first five independent short stories by Eduardo del Llano that received wide attention and sparked controversy. Since then, his work has spanned a wide range of genres. In 2013 he moved to the United States and has worked as Senior Editor in feature films and documentaries for HBO, Univision, Sundial Films, Triana Films, among others. Recent work is the 2019 feature film Giants Being Lonely that premiered on the 2019 Venice Film Biennale edition and Harakiri, I Miss You (2025).

Ismael de Diego (Lead Editor) es editor de cine y video radicado en Brooklyn, Nueva York. Nacido en Cuba en una familia de poetas, guionistas y cineastas, la narración estuvo siempre presente desde muy temprano. Tras estudiar saxofón en la Academia de Música de Cuba, emprendió una breve pero intensa carrera como actor, participando en películas como Havana Blues, La Anunciación y Guantanamero. En 2002 comenzó su carrera como editor en Cuba con una serie de documentales para el ICAIC y en 2004 editó los primeros cinco cortometrajes independientes de Eduardo del Llano que recibieron gran atención y desataron controversia. Desde entonces, su trabajo ha abarcado una amplia gama de géneros. En 2013 se trasladó a Estados Unidos y ha trabajado como editor principal en largometrajes y documentales para HBO, Univision, Sundial Films y Triana Films. Entre sus trabajos más recientes se encuentran Giants Being Lonely (Bienal de Venecia 2019) y Harakiri, I Miss You (2025).