In the manner of a well run Greek tragedy, leaving aside one of its components, dragging in its passing narrative certainty by the viewer that violent death is the hallmark of so much misfortune purifier, Los Dioses Rotos crowns the very successful arrival of Ernesto Daranas to the feature domains and with it, the team that accompanied him, including the actors.
Over several years, we follow three households and their emotions in a barrio of Havana. Magalis is a nurse, rarely happy. An older man, Ignacio, professes his love for her; her father and her brother quarrel over her brother's sexual orientation; she thinks about leaving Cuba. Santo's wife Maria is expecting their first child. Tragedy strikes and Santo leaves, drowning sorrows in alcohol and crime while his son grows up in the care of an aunt wondering where dad is. Vivian and Chino are in love, passionate, but childless. The pressures of a society that demands grandchildren strain their relationship.
Jose Luis, a young boy with aspirations to become a scriptwriter and director of cinema, is dazzled on having known the beautiful Sissy. To impress her, he appears as the director who looks for a not professional actress. She, that the whole life has dreamed of being 'discovered' but that it is not naive with men, pretends not to be interested. They begin a relationship in wich both are not as they wanted to be.
In 1950s Havana, a romance blooms between two young revolutionaries whose clandestine printing press publishes pamphlets meant to stir up rebellion against the dictatorship of Fulgencio Batista. As their popularity grows, so, too, does their revolutionary zeal and their desire to mobilize other urban guerilla units.