This thesis examines the trope of hunger in Cuban cinema produced during the socio-economic context known as the Special Period. Films selected for this discussion are Fresa y chocolate (1993) by Tomás Gutiérrez Alea and Juan Carlos Tabío, and El Rey de La Habana (2015) by Agustí Villaronga. Focused on the analysis of the trope of hunger, this study offers a summary of the Cuban cultural manifestations of the last decades that have addressed the issue of hunger as well as a brief historical context that allows us to understand the development of this trope from 1960 to the present. Focused on the aforementioned films, this study has observed the aesthetic and stylistic particularities used in filmic representations to convey the island's shortcomings. The thesis demonstrates the existence of two main famines within Cuban society: cultural hunger and physiological hunger. Cultural hunger is studied in Fresa y chocolate as a direct consequence of the cultural control of the repressive ideological apparatus implanted in the sixties. The analysis of El Rey de la Habana shows how physiological hunger builds a marginal and abject subject, unable to escape the vicious circle that society has imposed on him. / Master of Arts / This thesis examines the trope of hunger in Cuban cinema produced during the socio-economic context known as the Special Period. Films selected for this discussion are Fresa y chocolate (1993) by Tomás Gutiérrez Alea and Juan Carlos Tabío, and El Rey de La Habana (2015) by Agustí Villaronga. The trope of hunger in these films is analyzed in its multiple manifestations, whether literal or figurative, paying special attention to the aesthetic and stylistic particularities that they use to convey the island's shortcomings.