 Gastón Fernández has arrived at 34 without too much to show or brag about. He has no money, job, girlfriend, friends or life plan. He s a composer that doesn t compose. The one-time "most likely to succeed" at Santiago s Musical Conservatory has passed from promise to failure. He feels he is beginning to wander alone. Isolated and detached. Gastón feels that everyone judges him and see the word loser tattooed on his forehead. At the same time, an alter-ego, a sort of doppelgänger, haunts him. A young man, in a long, black coat, walks in a empty city that watches each and every one of his steps. A city that s in black and white. A city that is and is not Santiago. Is this strange, empty and foggy city part of his past or is it an invention? What seems a dream or a nightmare is actually a movie: The Killer Ants, a film directed by Luc Fernández, his cousin, many years ago, when everyone was young, idealistic and thought that things would turn out differently. But things change and so do people. It seems everyone has changed but Gastón. His sophomore idealism now works against him. The Killer Ants, that bizarre B-like movie for which he composed the music, does not seem to let him go. But it s that seem black and white movie, that same music, that will free him. It will help him open his eyes and his heart. Forced by his father to stop acting like a the teenager he no longer is, Gastón Fernández begins a voyage through empty apartments. A job as a Realtor for his father s business forces Gastón out of his past, his empty room and his shell. Gastón will begin to see a new city. A city that is not in black and white. Not the city that is out in the streets but the city that hides between closed doors. Without noticing it, these empty apartments will begin to fill up with new people with new stories. Stories that will help Fernández understand and value his own.