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He doesn't know yet but life is giving a second chance.

"There was a time when carob trees were our founthead of life. When you could serenely see rabbits, armadillos and many other species. The night that the white man appeared the black eagle warned us: 'Danger, Danger'

An ill man embarks on a journey of no return. A filmmaker proposes to film his journey. This is the result. "I'm going to start by the end. I met Ignacio at a literature workshop. We both pursued different objectives. He went there to improve a script for a movie; I went to spend some time connecting with what I had been wanting to do for all my life, even though it was too late: writing. We got on well. I don't know why, but there's something of him that reminds me of myself. Of my 30-year-old self. When I told him about this trip, when I told him it was a one-way trip, he suggested filming my testament. I took offense. I felt it as a breach of trust. But some days later, I called him and told him I accepted. He brought me a cell phone and told me to film whatever I wanted and to send it to him. He would take care of the rest."

Chiyoko tries to save her Noh theater from destruction, while participating with other Japanese elders in a modern play about Tokyo's past and future. Driven by an eccentric Argentine theater director and facing the Corona Virus crisis, the group performs scenes about their memories, futuristic visions, battles of samurais, massacres in the II WW, punk rock and anarchism. Haunted by the imminent demolition of the theater, Chiyoko will confront her husband's spirit, who refuses to let women dance the ancient dance, while she discovers the value of friendship with Yoko and travels through the mountains to find a forgotten pine tree where the Noh Theatre was born hundreds of years ago.