[Sheffield '25] Through the description of different "dead houses," the film offers a look at the Venezuelan migration crisis, not from the perspective of those who leave but from those who stay: the loss of a son in the 2017 protests without justice, the care of the houses left behind, or the old woman who returns to a village submerged under water by the construction of a hydroelectric plant. The church that could not be demolished is a symbol of the resistance of a people who face the literal erasure of the images of their martyrs from the streets, tattooing their faces on their skin.