In a castle, somewhere in the Thirld World, Diaz is delirious, dreaming of the power he had in Eldorado, while oppressing the indians, workers and peasants. He is well aware of the menace his old victims represent, while a miracle-making shepherd fascinates and frightens him. Diaz finds a countrywoman, symbol of purity, and prepares a ceremony in his castle resembling his own funeral.
A man and a woman, both disappointed with their partners, meet by chance at the beginning of the night. They will spend the night together drinking red wine in Barcelona's Chinatown.
A woman uselessly insists on entertaining a man by telling him stories that don’t interest him as much as his works. A film about the impossibility of telling a story that, to this end, concentrates on the story of two people who have a relationship that is destined to fail.
An unprejudiced portrait of Spanish folklore and a crude analysis in black and white of its intimate relationship with atavism and superstition, with violence and pain, with blood and death; a story of terror, a journey to the most sinister and ancestral Spain; the one that lived far from the most visited tourist destinations, from the economic miracle and unstoppable progress, relentlessly promoted by the Franco regime during the sixties.
Along with narrating the adventures and misadventures of its protagonists, the film presents a fresco of Spain in the 60s, with its rock music, fashion, and a visual style clearly indebted to the French New Wave.
A rich businessman, Julián, runs a foundation that seeks cures for people with disabilities or abnormalities. During one experiment he finds an extraordinary being, but it is just a mirage, as cerebral abnormalities begin to appear, and the being does not want to return to its primitive state.
