'Homo culinarius', as some researchers currently define, refers to our experience since cuisine was created. Its relationship with affection is displayed in this film in a way that explores the professional and home environment, through intimate captures of the filmmakers.

'Homo culinarius', as some researchers currently define, refers to our experience since cuisine was created. Its relationship with affection is displayed in this film in a way that explores the professional and home environment, through intimate captures of the filmmakers.

'Homo culinarius', as some researchers currently define, refers to our experience since cuisine was created. Its relationship with affection is displayed in this film in a way that explores the professional and home environment, through intimate captures of the filmmakers.

'Homo culinarius', as some researchers currently define, refers to our experience since cuisine was created. Its relationship with affection is displayed in this film in a way that explores the professional and home environment, through intimate captures of the filmmakers.

Helen is a visual artist who isolates herself in a house to prepare for a new artistic project. Her solitude is disrupted when her wife, Angela, returns from a trip. However, Helen begins to experience hallucinations and growing paranoia, leading her to question whether the woman in her house is truly Angela or an imposter.

A surrealist queer experience. Sweder, one day as he prepares to cut a fish, feels somehow touched by the commercial that is playing on TV about the consumption of animal flesh and violence, so he decides to adopt the fish and treat it like a son.

After her mother's death, Ana returns to her reclusive father's house and comes across the paintings he creates to cope with grief. She soon discovers how these artworks reveal his deteriorating mental health and blur the boundaries between art and nightmare.