Deborah gets by drawing the skin of her customers. One evening, her housemate welcomes her sweetheart and companion to their home. Sitting in the rocker, they consume the series existing apart from everything else, Gain of Clones, until, out of nowhere, the sign is cut off and the screen is colored red while subconscious pictures float. Nobody recollects what happened the most recent two minutes. The response will be in the confounding presence of monster felines that will later attack the city. As in El sol (2010), the second component of the artist Ayar Blasco diagrams whole-world destroying circumstances where confusion and suspicion is the best reason to meet surrealist animals and scenes. Blasco comprehends that movement is a language with assets that surprisingly realistic doesn’t have, and takes advantage of those devices as a grown-up only youngster to allow himself to play forever.