Joaquín Octavio

Don Leoncio, a conservative old man, demands that his only son, Dionisio, marry and start a family if he wants to inherit his fortune. But Dionisio is gay and has a partner, Tony. Hiding his homosexuality is straining his relationship with Tony, but admitting it would cost him his inheritance.

A woman in line in the bank, looks at the neck of the man in front of her and starts to remember from where she knows him.

Camera in hand, Lalo walks and talks, as in his literary texts and in his visual art, about the city that looks at us and the city we look at, emphasizing the invisible places, the deterioration, and details of the urban environment that serve as a metaphor for narrating our Caribbean reality.