The film immerses us in the perspective of an elderly Cuban man isolated in the Zapata swamps, becoming a visual poem about survival and belonging. In a hypnotic black-and-white sequence — reminiscent of Embrace of the Serpent or the slow takes of Béla Tarr — Landi hunts crocodiles with his bare hands in the overwhelming swamp, while a crackling radio broadcasts news about the COVID-19 pandemic, providing a disorienting temporal anchor. Painterly shots and prolonged takes, focused on tactile details and dense diegetic sounds, highlight the absurdity of a Sisyphean existence, subject to the forces of nature and isolation. The second half of the film centers on his wife Mercedes, portraying her life shaped by caring for their autistic son, caught in a Godot-like waiting.