Highly episodical, the film consists of flashbacks, daydreams, and hallucinations comprising live-action, animation, and newsreel footage assembled to suggest the way personal memory works, subjectively and emotionally.
Most of the various location shoots were done without permits, through favors from friends, and with a minimal crew consisting mostly of director Miguel Coyula, producer David W. Leitner and lead actor Ron Blair, easily adapting at a moment’s notice and without the constraints of a rigid schedule.
But after realizing there was no interest from film production companies neither in North or South America, they reverted to a strategy closer to Coyula's first feature, Red Cockroaches.
An initial negative review by Variety’s Robert Koehler [4] after its premiere at Sundance, described the film as “an unfortunate follow up to Tomas Gutierrez Alea’s masterpiece.” Subsequently James Greenberg from Hollywood Reporter considered it “Thoughtful and cinematically bold... an affecting portrait of modern man becoming more and more isolated from a world he helped to create.” [5] Bérénice Reynaud at Senses of Cinema wrote “Coyula ups the ante by over-compositing the image and saturating the colors, creating a complex kaleidoscope, which in turns dictates the editing of the sequences in a kinetic, non-linear way.
Paralleling free association, the structure blurs the lines between actual events, fake memories, projections, irritation at American pop culture, political anger, rambling and resentments… These techniques allow Coyula to further destabilize his character, to create a palpable tension between the film and Desnoes’ text, and to eventually reappropriate (or salvage) his trajectory in exile.” [6] Latin American Film Scholar Michael Chanan declared it “A dazzling and disconcerting work of great bravado… A paradigm for a new digital cinema beholden to no orthodoxy.” [7] Orlando Luis Pardo lazo's review at Diario de Cuba summarized the film as “A memorable moment in the Cuban Arts”.