With the introduction of inexpensive and digital filmmaking alternatives a young generation of Cuban filmmakers is creating a distance from the centralized state ICAIC using non-theatrical distribution, and digital technology to change the audiovisual landscape. I explore how young filmmaker Aram Vidal has added another dimension to this generation creating critical films on Cuban identity and its diaspora from within Cuba and abroad. I argue that through films like Vidal’s this generation is re-defining what Anderson calls Cuba’s imaginary community to include a more fluid definition of Cuban identity, while also challenging the definition of film and the audiovisual field.