In the square and tidy universe of an unconventional family, Mother is the guardian of order and Junior the distorting agent.
 A house where everything that doesn't fit, goes to waste.

When Adriana, the mother, becomes convinced that a perfect family consists of only two children, the arrival of a new baby, Tomas, turns their world upside down. Ignoring Tomas entirely, the family is plunged into a surreal struggle where every member must fight for their place.

A man plunged into grief connects through his dreams with the love he lost in a car accident.

A current of thought unites the three episodes in a coherent way, embodied with few elements, and that makes of space, time, and movement, purely cinematographic modes of expression. Voice is not needed. Yes there are sounds, music, but not human voices, as in primitive cinema. There are faces, slow or fast movements, despair, fatality, a barely glimpsed horror, desire and fear of freedom. There is also love, perhaps as an illusion, rather than as a reality.

After the loss of their mother, a dysfunctional family is pressed to re-examine their lives. As father and children come to terms with their own existence, this journey turns into a tender and subtle meditation on grief.

Luzmila and Peta are two sisters who come from a modest environment and work as housemaids for Alicia and Carmen, two aristocratic ladies of Peru. They are almost considered a part of the families or, at least, that’s what it seems… But one day, as the city is taken over by violent protests, a birthday celebration gathers all the members of both families together. A long-held secret involving both households — upstairs and downstairs — is suddenly revealed, blowing up the bubble of their perfect aristocratic world forever.