Sound as an entirely functional role of narration is the driving force of the film. Jessica tried to understand the smashing sound that surprises her when she’s caught in between the little pauses of life. She is reminded of this sound when flow of exterior things eases and she is left along with herself, when she is most present in the now. The consciousness of the present that this sound has brought upon her feels like pain in her head, the kind to which no desirable cure is within easy reach. It reminds her of the importance of sleep, and of distinguishing between presentness and nothingness. With time and presence becoming more touchable in her hands, Jessica feels the agony of having to make a change and at the same time, finding an answer.
But with the gravity pulling her closer to the ground, the earthly sensation goes on to incite more confusing illusions. She keeps running into men mysteriously named as Hernán who disappears just as randomly as they come into her life. Hernán is the look like of Jessica, the lost brother, the reflection into the mirror whose resemblance takes her down a memory lane that molds them into one. As their hands intertwine, memories come like waves in the form of oceanic sounds bursting loud in the midst of the tropical mountains. Jessica now understands the purpose of that sound, and she knows one ought to interpret it as a calling from home. Home is under your feet and the now is what matters. Fantasies and dreams derives from being present. All other kinds of stories are exhausting and therefore meaningless.
At another level this film is completely a sci-fi story. The history of Jessica started 6000 years ago. During an expedition her ancestors were ambushed and run over by industrialized civilization. Their remains aren’t discovered until the modern times, and along with the discovery, the mother ship awakes from its long hibernation, conveying a sound to the only left child of another planet. Whether she’s taken off with them remains unknown.
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