The story unfolds in Bilbao. Rocío (Emma Suárez), is in love with Mario (Antonio Banderas), a free rider with a lot of face that, to top it all, is partner of the business of her father, Domingo (Francisco Rabal) with whom she maintains incestuous relations. When Domingo passes away, both Mario and Rocío's mother have to put to the front of the business, finishing with the inheritance that could receive Rocío. In the midst of her frustration, a young business worker, secretly in love with Rocío, will try to have the legacy of her father end up in the hands of his rightful heiress.
What we tend to identify with the acting profession has little to do with what is really this profession. Thirty-six Spanish actors reflect on their work and contrasted their experiences. As thread, the contrast between the voices of veterans and images of young theater students , for whom everything is still possible. Among the many actors are interviewed Javier Bardem, Antonio Banderas, Victoria Abril, Carmen Maura, Fernando Fernán Gómez, José Luis López Vázquez, José Coronado, Emma Suarez, Alberto San Juan, Ariadna Gil, Ana Belén, Pilar Lopez de Ayala and many other.
A girl, who lives together with her cousin who earns some money by dealing and her boyfriend who is a policeman, is regularly transporting some drugs from Marocco for her cousin. As all of them smoke grass from time to time there is need for more. Deciding to take a friend of hers who has just left home down to Marocco for a transport she gets problems because it is the first time for her friend and this makes it difficult. But as all are very open minded there is no problem they would not try to solve. Written by Volker Boehm
In the early Spanish Civil Post-war, in Madrid, during the most hard times of the Franco dictatorship, a group of second-rate players try to get out of their wretched lives taking advantage of the artistic caprices of the son of a rich man who supports the regime. They try to stage a Pre-war 'zarzuela' (a sort of Spanish operetta), 'La Corte Del Faraón', which ironically, thirty years later, is too obscene for the regime censorship. They finally manage to perform the 'zarzuela' but end up in the police station where they confirm that justice depends on which side are you on
Pepa resolves to kill herself with a batch of sleeping-pill-laced gazpacho after her lover leaves her. Fortunately, she is interrupted by a deliciously chaotic series of events.