Based on the novel by Venezuelan writer Enrique Bernardo Núñez, the film tells the story of engineer Leiziaga discovering his historical doubles in the context of the colonization of the island of Cubagua in Venezuela. In this way, two stories are intertwined: one that takes place in the 16th century and another in the 20th century. The first story focuses on the life of the Spanish settlers who arrived in Cubagua and the exploitation of the indigenous peoples for pearl extraction; the second story, set in the 1920s, tells of Leiziaga's archaeological expedition, financed by a multinational oil company, in which he visits the island to study the ruins of the Spanish settlement, which leads him to reflect on the passage of time and the destruction caused by human exploitation, and through a game of mirrors, to realize the relationships between the past, present and future.

In a far forgotten village there are great expectations for the arrival of some important government authorities.

Armada (1977), Julio Neri's first political film, was made at a time in which several Latin American countries –most importantly Argentina and Chile— had seen a turn towards military dictatorships. Neri questions authoritarian regimes through the narrative of a devoted but free-loving daughter, Armada, and her military father. Armada's line of argument departs from the militant films made by New Latin American Cinema directors in the 1960’s. Rather than openly opposing the violent and repressive regimes (represented by the father), Armada establishes a complex relationship in which the daughter is divided between the love towards her father and the love towards her freedom. However, Armada's death at the hands of her violent father clearly condemns the use of violence and is thus a call to action against repressive regimes. As many Super 8 films of the 1970’s and 1980’s, Armada has a synchronized sound track rather than diegetic sound.