Considered the first film critical of the history of Cuban cinema, three things stand out in this film: 1. The brutality of the work does not prevent love. 2. People's perception, imagination and the very way of playing, and especially children, are already crossed by the exploitation of work (scene of the girl painting the doll's face to look more like the worker). 3. the movement of the camera as a political issue, which can be observed in the scene where the rich pass by boat in front of the workers' house and, after that, the camera stays with the workers. It is worth highlighting the last scene of the film, which can be understood as the beginning of a tradition of critical directors.
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