The image on the screen flickers unsteadily; the rhythm is unsettling: black/white, black/white, white/black. The film cuts abruptly to a playground. Color appears, sound sets in. Children crawl in the sand, adults watch over them, sitting on benches. It turns abstract. At the end a circle appears on the screen, again flickering strongly, like a beating heart. This is “Incendiary Cinema.” There is no such thing as a nice succession of images; the film is supposed to distress and disturb, and it also aims to create receptivity for images and viewing. It is a small, quite salutary shot before the main film.
In neo-noir fashion El Aura narrates in the first person the hallucinating voyage of Espinoza, a quiet, cynical taxidermist, who suffers epilepsy attacks, and is obsessed with committing the perfect crime.
After almost 10 years of marriage, attractive Zoe discovers that her marriage lacks passion and surprise, and is seduced by the possibility of finding those sensations already forgotten in her husband's brother.
Ray Ferrier is a divorced dockworker and less-than-perfect father. Soon after his ex-wife and her new husband drop of his teenage son and young daughter for a rare weekend visit, a strange and powerful lightning storm touches down.
Sarah Huttinger's return home with her fiance convinces her that the sedate, proper, country-club lifestyle of her family isn't for her – and that maybe the Huttinger family isn't even hers – as she uncovers secrets that suggest the Huttingers are neither sedate nor proper.