Uma Mikati

Surrounded by social and political chaos in Lima during the summer of 1992, Lucia, Aurora, and their mother, Elena, plan to leave and seek opportunities in the United States. Their farewell involves reconnecting with their estranged father, Carlos, adding turbulence to the regrets, hopes, and fears of their emotional departure.

In 1950s Lima, a Catholic girls' boarding school clings to a cliff above the Pacific Ocean. Ana, 16, pursues holiness obsessively, secretly mortifying her body. When Rebecca, a rebellious foreigner, arrives at the school, Ana’s leadership starts to crack. As fascination turns into jealousy and desire clashes with faith, discipline takes on a dangerous charge.

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.

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.