The granddaughter of original El Santo producer Jorge GarciaBesné and the archivist behind the restoration of the first two El Santo pictures travel to Havana Cuba to clandestinely visit the locations where the original films were made and granddaughter Viviana realizes the trip was as much of a journey to chart her family evolution as of historical cinema exercise Filmed almost entirely on iPhones to avoid drawing the attention of the authorities it is also a brief portrait of a resilient population faced with a daily struggle to feed themselves under a severe embargo from the West