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December 1897, Paris. Edmond Rostand is not yet thirty but already two children and a lot of anxieties. He has not written anything for two years. In desperation, he offers the great Constant Coquelin a new play, a heroic comedy, in verse, for the holidays. Only concern: it is not written yet. Ignoring the whims of actresses, the demands of his Corsican producers, the jealousy of his wife, the stories of his best friend's heart and the lack of enthusiasm of all those around him, Edmond starts writing this piece which nobody believes. For now, he has only the title: "Cyrano de Bergerac.

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Soledad, a traditional healer, lives with her grandson Jose in an Indigenous Village. Soledad's daughter, Adela, moved to Mexico City many years ago and now wants Jose to join her, but Soledad believes the boy is better off in the village.

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As Sara stands on the cusp of committing an unthinkable act, an unforeseen and awkward encounter gives her the opportunity to witness the potential consequences of her destructive action. But is this a second chance or an admission of guilt.