
In recent years it has become the handiest character of Mexican cinema: the Chilango fleeing the capital to the province in search of something. But this case is different because the trip is used as an excuse to illustrate, through documentary techniques, the deep contrasts of Mexican society. Tired of the city, Javier goes to visit his aunt, an eccentric woman with quite radical ideas, who lives isolated from the world in a ranch in Querétaro. Javier works as a laborer for an Argentinean foreman, with whom he shares a few passions. His life begins to change.
The movie opens with an empty house, cameras pan around from the perspective of what viewers are confused about at first, but turns out to be a spirit living in the home.
Every movement becomes a question of identity. To become who we are meant to be. In order to reach that we often have to shed who we once were, and that shedding can sometimes be so brutal it’s ungraceful.
White audiences saw Peola’s mixed-race passing as a Black woman’s struggle to be white. Black audiences saw it as the rebellion of a Black woman trying to gain privileges only given to white people.
The movie is centered around the title character who goes on a Christmas adventure.