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Crawling back from the edge of society, Thirsty tries to prove he’s a “changed man” to his sister in order to gain access to his daughter once again.
The unequivocally foregrounded characters parachute watchers into the remote town of La Barre, sandwiched amongst wilderness and sea. The tenants are all of African drop aside from Paisa (Jaime Andres Castano), a vile figure of advancement who impacts move music every minute of every day over goliath amplifiers in readiness for opening a shoreline resort.
Into this grieved tropical heaven arrives Daniel (Rodrigo Velez), a secretive white intruder whose shaven head and touchy highlights review a Buddhist priest or perhaps a road emulate. A young fellow of few words, he has sufficiently just cash to employ a vessel for an obscure goal. In any case, the angling vessels aren’t expected back for a week and, while he holds up, he orchestrates to rest in a loft offered by Cerebro (Arnobio Salazar Rivas), a nature-adoring group pioneer and the severe adversary of Paisa’s will to modernize.
The vast majority of the film happens as a progression of experiences amongst Daniel and a venturesome young lady, Lucia, who has a crab trap and needs him to “purchase lunch” from her mom. Critical financial straits compel the villagers to get by any way they can, trading anything accessible, including themselves.
In his initially film, Ruiz Navia demonstrates a firmly individual voice in the adroit way he utilizes characters to depict a specific place. The meager exchange is sufficiently only to drive the story forward and offer touches of delicate funniness, on account of Velez’s downplayed perf as the secretive outsider around the local area.
The washed-out hues and totally open organizations of the profoundly pictorial cinematography give the unassuming angling group a semi mythic measurement.