Something is the matter with Belmonte. Even when he was having a moment of professional success – he is a well-known painter whose paintings sell for a high price –, his indelible grim expression reveals a curious non-conformity, the product of a middle-age crisis that encompasses everything in his life. From the tension with his ex-wife to the suspicion that his father is having an affair with a man, and entering into the relationship that he is trying to establish with his little daughter, and the sexual flirtations that he is receiving from various women, each situation, as common as it may seem, puts him in an uncomfortable position with which he must battle continually. With an imperturbable face, Belmonte – the character and the film – reveals, with an impenetrability that borders on the extraordinary, that moment in life when one must pick between change and resignation. And it does so while humor resounds in distance doses, and altering, at times, a realism with stylistic liberty and the ability that Veiroj has already demonstrated in A Useful Life and The Apostate.