A wondrous yarn of history, the threads of which run through Mexico and Serbia: in Guanajuato two boys – one of whom is seriously ill – wander through the kaleidoscope of their city whilst in Belgrade women of different ages come to terms with death and the colours of life: encounters and weighty yet light-hearted conversations about what makes up the existence of an individual and how moments of death can be borne in a more endurable manner. The here and now of the film is not firmly anchored but instead establishes itself in mysterious ways. The entire universe of Las cuatro esquinas del círculo appears to be impregnated by Frida Kahlo's paintings. And as one of the Belgrade women, in the blazing radiance of a theatre spotlight, actually transforms into the image of the Mexican artist, the film bows out with a heart-breaking Yugoslav-Mexican version of ‘Paloma Negra’, that heroic-melancholic hymn to Frida Kahlo which speaks of eternal love.