The debut feature from director Javier Fuentes-León appears to address contentious issues of masculinity, sexuality, faith, family and community with audacious honesty. However, it's actually as duplicitous as fisherman and father-to-be Cristian Mercado, who is cheating on wife Tatiana Astengo with openly gay painter Manolo Cardona. Mercado believes he's got the best of both worlds when Cardona drowns and he's able to cavort openly with the ghost that only he can see. But when his secret is revealed, Mercado finally realises that he has to be a man, even if it costs him his marriage and status in his highly conservative Peruvian village. The performances are admirable and the intentions sincere. But Mauricio Vidal's glossy visuals push this closer to magic realism than neorealism, while the plot twists owe less to life than the telenovelas that Astengo makes Mercado watch instead of football.