We pick up in the middle of a story about four French-speaking female spies (actresses from the Piel de Lava theatre group) as they and their hostage move towards an airstrip where, "somewhere in the eighties, somewhere in South America" they will face their opponents in 'Operation Hercules' for a final showdown at dawn. Before we reach the end of this monumental, almost six-hour, tale we go back in time to see the backstories of the four spies, and travel the world: to Brussels, where their employer Casterman (only one of the many references, here to the publishing house of Hergé's Tintin) has his base; to Berlin; to Russia; and, of course, Siberia.
Driven by Llinás' all-knowing, all-questioning voice-over, the tale is immense, hypnotic, seriously
funny, but also deeply moving, leaving the viewer finally pleasantly
confused about the plot, but strangely reborn in a belief in the power
Winner Hubert Bals Fund Audience Award, IFFR 2019. Also see La Flor (Parte 1) and La Flor (Parte 3).