It is about two ghosts, a mother and son, search for the boy’s missing father on a journey, both physical and spiritual, through a world ravaged by war. Only through great sacrifice will they mend the fragile bonds that bind them and perhaps find redemption.

作為一部以哥倫比亞內戰為主題的公路電影，化身幽靈的母子在不斷的遷徙中，反覆叩問罪責、懺悔與信仰的關係，一如德希達語中「哀悼工作」之具象化：哀悼並非將亡者安葬於記憶的墳塚，而是讓其以幽靈姿態持續介入生者的倫理場域。 這旅程不僅是男主角的贖罪苦行，更是整個民族在戰爭暴力創傷後的精神隱喻。
敘事的斷裂性體現在時空的錯位：那些與男主角生前交錯的路人與戰友，始終以拒絕原諒的姿態凝固於各自時空，等待男主角的再臨。 這一手法揭示了戰爭創傷的未完成性：當死難者已經在戰爭中成為沒有未來的休止符，所謂的和解不過是在生者的一廂情願。
或許是對白多是獨白及母子對白的緣故，我反而更注重鏡頭語言的敘事手法： 開場長鏡頭以聲畫分離的錯位技巧，讓旁白中的殺戮現場與當下的斷垣殘壁形成蒙太奇對話；令人驚艷的是導演對「缺席」的影像化詮釋：亡靈們在旅程中逐一顯身，以「在場的缺席者」姿態重塑集體回憶。 而導演刻意模糊生/死、現實/幻覺的魔幻寫實手法，在電影中建構了一個「諸魂共在」的批判空間，向觀眾述說那些未被納入正史的苦難記憶。

Alfonso is an old farmer who has returned home to tend to his son, who is gravely ill. He rediscovers his old house, where the woman who was once his wife still lives, with his daughter-in-law and grandson. The landscape that awaits him resembles a wasteland. Vast sugar cane plantations surround the house, producing perpetual clouds of ash. 17 years after abandoning them, Alfonso tries to fit back in and save his family.