Spain, 1922. A spot overflowing with new thoughts – scholarly, imaginative and political. Three youthful companions meet at college – Luis Buñuel, bound to turn into a notable movie producer; Salvador Dalí, who might get one of the world’s most noteworthy painters; and Federico García Lorca, an artist who delighted in restricted accomplishment in his lifetime yet has come to be recognized as one of the nation’s most significant essayists and a key pundit of totalitarianism. The kinships that structure are exceptional, the environment electric. Be that as it may, the enthusiastic scholarly association among Federico and Salvador continuously overflows into something different, leaving Luis sidelined and unpleasant, and compromising obliteration even in its excellent beginnings.
Regardless of whether anything could possibly do occur between the craftsman and the artist stays hostile. Dalí himself prevented it for most from claiming his life, yet proceeded to state, rather questionably, “furthermore, it hurt”. This was surely not a period when gay individuals felt they had numerous alternatives or when gay sentiments were anything but difficult to admit to, particularly for someone like Dalí, who wound up very fulfilled in his various issues with ladies. Be that as it may, García Lorca’s fixation on the craftsman is all around perceived, and it is taken care of thoughtfully here; all things considered, it couldn’t have been anything but difficult to be infatuated with a man nearly as well known for his narrow-mindedness as he was for his artistic creations.