Eduardo del Llano Rodríguez (Moscow, 1962) is a Cuban writer, university professor, screenwriter, and film director.
He earned a degree in Art History from the University of Havana in 1985, and during the 1980s he was part of the theatre and literary group NOS-Y-OTROS. He trained with Jorge Goldenberg, Tom Abrams, and Walter Bernstein in the craft of screenwriting, while working as a professor at the Faculty of Arts and Letters of the University of Havana (History of Latin American Art and Phot...
Eduardo del Llano Rodríguez (Moscow, 1962) is a Cuban writer, university professor, screenwriter, and film director.
He earned a degree in Art History from the University of Havana in 1985, and during the 1980s he was part of the theatre and literary group NOS-Y-OTROS. He trained with Jorge Goldenberg, Tom Abrams, and Walter Bernstein in the craft of screenwriting, while working as a professor at the Faculty of Arts and Letters of the University of Havana (History of Latin American Art and Photography).
With the short film Monte Rouge (a satire about the work of the Cuban State Security), he took a critical stance toward the Cuban regime, although Eduardo del Llano made it clear that it was not a clandestine film, but one that was simply not financed by the Cuban Institute of Cinematographic Art and Industry.
Eduardo del Llano Rodríguez (Moscow, 1962) is a Cuban writer, university professor, screenwriter, and film director.
He earned a degree in Art History from the University of Havana in 1985, and during the 1980s he was part of the theatre and literary group NOS-Y-OTROS. He trained with Jorge Goldenberg, Tom Abrams, and Walter Bernstein in the craft of screenwriting, while working as a professor at the Faculty of Arts and Letters of the University of Havana (History of Latin American Art and Photography).
With the short film Monte Rouge (a satire about the work of the Cuban State Security), he took a critical stance toward the Cuban regime, although Eduardo del Llano made it clear that it was not a clandestine film, but one that was simply not financed by the Cuban Institute of Cinematographic Art and Industry.
