The fiction follows Camila Ponte (Julieta Cardinali) , an Argentine best-selling fiction author with a writer's block who is gently kidnapped by a purported fan named Vega Galindo (Ana Torrent) and there is no ransom demand or release date . Camila is thereby taken to an isolated hostal in Extremadura managed by Palmira (Angela Molina) so she can write a new novel. Rather than a fan, Vega turns out to be seeking revenge, whilst Camila, rather than a novelist, is a marketing façade to sell novels. Vega wants to close wounds and Camila has dark secrets . But then a peculiar relationship emerges between the two women. Somehow, everyone wants to close them. I also feel like closing wounds , resulting in an affectionate bond.

Jaime de Armiñan shoots this nice drama , returning to the big screen after thirteen years away from directing. As is usual in most of his works, the film tells of the story of two lost souls who meet and interweave together their lives , dealing with a complex love-hate relationship . It is a story of suspicion, mistrust, revenge and of love as well . It is a timely story, it is well made with interesting dialogue in a suggestive narrative . His characters speak to us, above all, of nostalgia . They also talk to us about affections , forgive , forget and extreme sentiment from the sadness of seeing you uprooted from your homeland. This is an agreeable movie , thought slow-moving , plenty of feeling , and reflections about what's actually necessary in life . Stars a fabulous cast , Julieta Cardinali as Camila Ponte , a successful Argentine writer and Ana Torrent as Vega Galindo, a fanatic fan who has really dark secrets . Along with a stunning plethora of secondaries such as : Ángela Molina as endearing character of Palmira , Cuca Escribano as Fernanda Segovia , Omero Antonutti as radio man Benson , Fele Martínez as Enrique Gozalvo and special apperance by Fernando Guillén.

Photography by Kiko de la Rica is rigorous , shot on location in Cádiz, Córdoba, Andalucía and Madrid , while musical score never succumbs to the image. The motion picture was originally written and directed by Jaime de Armiñán . It is a minor work by Armiñán, but it is an acceptable work and suitable for lovers of things well done. It won nomination Málaga Spanish Film Festival 2008 and Winner Silver Biznaga Best Screenplay Jaime de Armiñán , Eduardo Armiñán and Nominee Golden Biznaga. Jaime started his long career as a prestigious screenwriter . Among his scripts credits during his early time are the following ones : El Secreto de Mónica (Monica's Secret) (1961), El juego de La verdad (The game of Truth) (1963),and El diablo bajo la Almohada (The devil under the Pillow). As the natural progression in his work in films, Armiñán moved to become a film director. He made his debut as director with his own scripts in 1969 with Carola de día, Carola de noche, (Carola by day and by night ), a project tailor-made to revive the sagging career of former child star, Marisol who, at age 21, was starring her first role as an adult. This was followed by the equally forgettable: La Lola dicen que no vive sola (1970) (Lola does not live alone), a comedy about a prostitute who promises to Virgin Mary not to have sex again if her daughter recovers from an illness to the disappointment of the men around her. While this first two directorial attempts came and went with little notice, Armiñán won acclaim with his third effort: Mi Querida Señorita (My dearest Señorita) (1971) a project developed out of a collaboration with José Luis Borau. The film, starring the popular Spanish actor José Luis López Vázquez, tells the story of a repressed provincial spinster who late in life discovers that she is really a man and moves to the city to explore his new sexual identity. Mi Querida Señorita was a critical and popular success and was nominated in 1972 for the Oscars in the Foreign Language film category. After the comedy Un casto varón español (1973), Armiñán made El amor del Capitan Brando (1974) (The Love of Captain Brando) a film that follows with sensitivity the relationship of Aurora, a young school teacher, with two men of opposite generations who fall in love with her: Fernando, a middle-aged republican exile, and Juan, a thirteen-year-old boy who enjoys playing acting in Westerns. El amor del Capitan Brando was a big commercial success. During the post Franco period, Armiñán sought ways to express both his political and social themes, but with varying degree of success. Nunca es tarde (1977) (Never too Late) recounts in parodied fashion the miraculous pregnancy of a woman in her eighties through her mystical identification with a young male neighbor whom she claims is the child's spiritual father. A more pointed narrative of sexual and political repression comes through in Al servicio de la mujer española (At The service of the Spanish Woman) (1978), which parodies with black humor the puritanical sexual values of the francoist culture that outlived the regime and continued to shape provincial life. Armiñán most acclaimed film of this period is El Nido (The Nest) (1980) in which an aging widower (Hector Alterio) falls for an adolescent girl played by Ana Torrent who won the best actress award at the Montreal film festival for her performance, and the film was also nominated for an Oscar that year; this was Armiñán second nomination. And another hit as La Hora Bruja (The Witching Hour) (1985) with a great cast as Francisco Rabal, Concha Velasco and Victoria Abril involving the activities of a lascivious traveling magician . Armiñán's filmography over the next fifteen year remained notably slender, largely due to his return to television and his highly successful scripting of several dramatic series as the big hit ¨Juncal¨.