First, we see him take the road, then, for a long time, drive to a hypermarket far from the city center to do his shopping. Back at his restaurant, sitting at a table, he starts talking, facing the camera. Who is he? René Orduña. Neither hero nor victim, Rene is only a witness of his own existence during the 70s and 80s in the United States. A period of nomadism, geographical and amorous, whose only reference points were festive, this is what he evokes, without regret or nostalgia: the hypothesis of joy. And the film makes room for this word, playing with colors and sounds as cushions where it can be properly seated.
