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A Venezuelan government official is sent to Switzerland to work on a project, strangely descending into sickness as unsettling events unfold back home.
The deceased Venezuelan awaits, uncertain of what comes next. According to the machines, the voyage to paradise starts soon. But in digital purgatory, bureaucracy and control continue.
A family painting triggers in the "The Young man" memories of his mother, the countryside, and his last lover, while doubt brings him closer to violence.
In the midst of winter, a Venezuelan woman exiled in Brooklyn deals with daily work, a recurring appearance and unsettling messages from back home.
A machine-voice makes a "sad film of his homeland" for a dying patient to ease its passing: footage from Kennedy's visit to Venezuela in 61' creeps through montage errors, and a seemingly endless poem comes alive one last time.
A long-lasting lockdown. The last days of a grandmother. In between, a speculative film diary: a distant homeland, a grieving state possessed by light.
The director leaves his native country and adapts to new territories. Inside his work routine in a New York City restaurant, messages from his family come and go, shattered pieces of lost paradises.
After his mother falls ill, filmmaker Humberto González Bustillo flies back home to be by her side. Before his return, he remembers his childhood, and in turn recounts the colonial interests in Venezuelan lands, together with the continuous oil crisis.
A taxi driver sets out for his daily route in the city center. After a series of fares, he discovers that all his earnings have vanished, forcing him into a desperate search for a way to afford his next meal.
Like every day, Maria sells lottery tickets at the same traffic light in Caracas. Life there is precarious and difficult, and everyone survives as best they can. One day, Maikel, a young local delinquent, approaches her on his motorcycle and tries to start a conversation. Despite her reluctance, Maikel returns to see her every day.