David Loynaz

In 1812, in the city of Cartago, Costa Rica, momentous news is announced: King Ferdinand VII, who has escaped the Napoleonic invasion of Spain, plans to celebrate his coronation in this distant land. Governor Acosta, an older man imbued with loyalty to the monarchy and a romantic spirit, is filled with excitement at this imminent royal visit. This ruler, who has remained mainly in his government chambers, makes an unusual decision: he ventures out into the outside world to tell the people about the coronation and summon everyone to attend the ceremony that same afternoon.

In the nineteenth century, while a young girl is walking in the countryside, and a unexpected encounter with a familiar face unearths a secret.

A 19th century drummer nicknamed “Hedgehog” is part of an anachronistic military expedition composed of a quixotic general and three soldiers through the inhospitable Liberian pampas, in search of the filibuster inn with the aim of burning it with an improvised torch. The aridity of the terrain, the lack of food and hygiene and the subtle line between the real and the fantastic will determine the destiny of the platoon.

María Finojosa, wife of Spanish settler Juan de Cervantes, tunes into the fragile memory of the exact moment when her husband became obsessed with founding a town that would perpetuate his family name. In the middle of the 19th century, in the mountains of Costa Rica, María's memory of her husband's Quixote-like delusions, unravels like the reel of an old film, projected onto the persistent rain and the constant lurking of the cracks of fiction.

The orchard of wet dreams is the displacement of a videographic image in the lumpen-tropical condition and the emergence of its ironic simulacrum.