Through some of the last interviews with him before his death, Guatemalan filmmaker Anaïs Taracena bravely and artfully pieces together Barahona's incredible, heroic story, as well as his testimony in 2014 on one of the worst urban massacres to take place during the war in Guatemala: the Spanish Embassy massacre in 1980.
Huachindango is the small capital of a small Central American country. In this city, women must enter rooms managed by “The System” at different times in their lives, where there are different types of sexual assault. No woman in Huachindango escapes from entering, at one or more moments in her life, to these rooms. There is one room that is the most feared of all: Cock’s Quickie.
Héctor returns to his town in the Guatemalan highlands after a difficult migration of many years to the north. That trip has left him wounded. With a possessive mother, a young wife who despises him since her abandonment and a young son who does not know him, Héctor will try to adapt, proposing to live as before, repairing lost time, but he runs into a community that has already discarded him. His violent reaction breaks the fabric of his environment, and he discovers that since he left everything has changed, neither Héctor nor his community will be the same.
Three women participate in social movements throughout Mexico City, where the songs from folk singer, León Chávez Teixeiro, have accompanied these social fighters for the last 50 years.
