Ketamine-fueled nihilism meets Instagram-induced egomania when suicidal Chilean auteur Sebastián Silva (playing himself) fatefully collides with overbearing social media influencer Jordan Firstman (also playing himself) while nearly drowning in the waves along the sultry shores of a nude cruising beach in Mexico. Convinced their paths have crossed out of divine creative intervention, the overeager Jordan pitches the hesitant Sebastián on developing an original series together. But when he lands in Mexico City to begin writing, Jordan finds the director is missing — and no one but his evasive housekeeper Vero (Catalina Saavedra, Silva’s The Maid) seems to have any clue as to his whereabouts.

Between unflinching presentations of gay sex and his familiar fascination with the combustibility between social and economic strata, director Silva wields a sharp needle to self-reflexively thread today’s disposable pleasures of urban gay life with the creative bankruptcy of modern entertainment by suggesting that if you gaze into the navel long enough, all you’ll find is the void looking back.