The fault of impatience is the desire for the work to mean something. In Kafka's case, as he sometimes writes in his diaries, this was the desire for the work to be a means of salvation.

Nowadays, perfect cinema — technically and artistically masterful — is almost always reactionary cinema. The major temptation facing Cuban cinema at this time — when it is achieving its objective of becoming a cinema of quality, one which is culturally meaningful within the revolutionary process — is precisely that of transforming itself into a perfect cinema.

The commentariat in every age and epoch, with their eagerness to adjudicate and their need to dictate meaning, have in their various commissions formulated countless ways to capture the essence of liberation, as though it could be tapped and extracted like a syrup, or clad about with a definition both bespoke and interminable.

This being, for whom those that tried found impossible to articulate or apprehend, was neither individual nor horde, neither avatar nor void; this icon built from negative space; this blank dream whirling like a death mask in a feverish mind