Eduardo Mendoza de Echave

Julia inherited her mother Asunta’s job as a domestic worker in the wealthy De la Puente household, where she was raised alongside the family’s daughters. Asunta, an Andean woman who migrated to Lima after Peru’s 1970 earthquake, carried a life shaped by displacement, silence, and sacrifice. Over the years, affection and inequality became inseparably intertwined within the household. Now, as illness and old age expose long-buried secrets, Julia is forced to confront the invisible social order that has defined her existence. Torn between loyalty and freedom, she must decide whether to remain in the role imposed on her or finally reclaim her own identity.

Ella – well she has a name too – Luna (Patricia Garza), is actually about her much older husband and painter Alfredo (Paul Vega), and his choice of actions/reactions after she decides to leave him for a lover that he wasn’t aware of. Alberto has been going through a creative crisis and is under pressure to complete a series of paintings for a forthcoming show. It is nevertheless also plain to see that he’d been treating Luna, who’s also his model, largely as an object of desire and obsession – capturing with camera her every movement in the house when she’s not posing for him, and memorising her every physical feature, moles and warts included – he’d apparently counted twenty seven moles on her body. When Alfredo tracks down and entraps the lover she’d wanted to elope with (Rómulo Assereto), he’ll discover that they both have more in common than merely desiring the same woman…

It tells the love triangle between Cristina, Javier (her future husband) and Felipe (her ex of a lifetime). After her bachelorette party organized by her best friend Catalina of hers, Cristina discovers that she is pregnant, and she does not know which of the two is her father. In the fourth month of pregnancy, the doctor gives them the results of the paternity test, giving an unexpected twist to the story.

Trovador seeks to write an immortal bolero, but the inspiration does not reach him. That's why the Devil appears to him and decides to make a pact: his desired bolero in exchange for his soul. Trovador accepts, and in his way will cross the Gitana, a woman with whom he will begin a passionate romance that perhaps serves him to write his song.

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.

Lima, Peru, 1991. After years of fruitless efforts, a group of police officers finally find a lead on the whereabouts of Abimael Guzmán, the bloodthirsty leader of the communist terrorist gang Shining Path.

On Halloween night in Lima, four rich kids spend a night on the town, goofing, getting into trouble, and deciding to help Manuel lose his virginity. From Juan Diego's house they hire three call girls, not much older than they, and they pair up (El Gordo declines - he wants to be true to his girlfriend). The young women are sweet and street smart, the boys are naïve and full of bravado, Romance and violence are possibilities during this night of surprises and self discovery