Gloria (Paulina Garcia) believes that love is the anodyne to death. As she stands in a little crowd on a street in Santiago, watching a skeleton puppet’s jerky dance, she makes up her mind to forgive Rodolfo (Sergio Hernández), her spineless lover.
Rodolfo is evidently smitten with the auburn-haired Gloria, whom he has recently met at a club and taken to bed. Intimacy involves removing his bellyband, the result of intestinal bypass surgery for weight management. She takes this unromantic development in her stride.
Gloria thrives in love, bungee jumping and playing paintball at the amusement park Rodolfo owns and waxing her legs while singing romantic ballads along with the radio. Introducing him as her partner, she brings him to a small family reunion to celebrate the birthday of her son, a new father whose wife has abandoned him, and to say farewell to her daughter, who is departing for Sweden to be with her lover. As the glasses are filled and refilled, Gloria and her ex-husband laugh together over old photographs, moved by the mingled pain and happiness suffusing the room.
Suddenly everyone realizes that Rodofo has departed without a word, apparently miffed at the momentary straying of Gloria’s attention. She is humiliated and angered by his rudeness and immaturity, refusing to answer his begging messages. Then she sees the skeleton dance and picks up the phone.
To make it up to her, Rodolfo takes Gloria to a seaside resort. It is paradise, until his daughter calls him home to take care of his clinging ex-wife, who has had a minor (perhaps intentional) accident. Gloria begins to pack her bags. No, no, I am not going, he promises her. Perhaps to test his mettle, Gloria strips, rips off his protective bellyband, and mounts him.
At a candlelit dinner that evening, his mobile buzzes. Gloria laughingly lobs it into his soup. He excuses himself to use the restroom and never returns. Devastated but not defeated, she slams down a few screwdrivers and parties the night away, waking at dawn on the beach in somebody’s dinner jacket.
Back in Santiago, she unplugs the phone, vacuums her car, and showers. Then she sets out to the wedding of a friend’s daughter. As if on an intuition, she walks out to the terrace. There a white peacock magestically opens his fan for her. Similar in size and color, with feathers instead of bones, he is the opposite of the skeleton puppet and a sign of life’s wonder. Back in the dining room, Gloria’s friends call from the dance floor for her to join them. She does, at first moving hesitantly, then at last joyously. Life is the anodyne to death.