“Spatial logic is thrown askew by the spherical distortions of the ultra-wide-angle lens. This modernist space – the likes of which were prevalent throughout the Vedado district of pre-revolutionary Havana – is liquified by the camera. Through the camera, it shapeshifts, surrounding and consuming the characters that pass through it, drawing a direct link to the swimmers in the rooftop pool. It is, as Lefebvre continues, “capitalism’s absorption of the entirety of space for its own purposes…” (p. 95, Lefebvre). People caught within these abstract spaces are permeated by the logic-systems of commodity and profit. Abstract space, as represented in Soy Cuba, is therefore liquid architecture.”