In an un-named town somewhere in the Southwest, an extended drought has gutted the population, and those left behind are stuck in an eroding culture of closed downtown shops, high-attrition schools, and used car lots with only three cars for sale. In a shack that's so ramshackle that it is precariously propped up by a single supporting beam, José y Meyo raise their oddball son Sailboat.
As insecurely as the prop holds the house erect, each of the family members are barely sustained by an eccentric fixation José (Noel Guglielmi, who you'll recognize as a convict from 100 prison movies) is fascinated by images horses, which he continuously renders with his paint-by-numbers kits. Meyo is a sociophobe whose main connection with the world is cooking spicey meatballs. (I shit you not.) And young Sailboat, you may have guessed, is obsessed with sailboats, despite living in a town where nobody has even seen the sea.
The little boy finds a ukulele and writes an allegedly magical song. An overplayed, stilted Wes Anderson-type style intersects with Southwestern magic realism, and stuff happens.
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