"Mexico, August 1923. The American photographer Edward Weston has just abandoned his wife and children to rejoin his mistress Tina Modotti. Tina, the daughter of Italian migrants, had started a career as an actress in Hollywood before displaying her talent as a photographer, in Edward's wake. In Mexico, the two lovers discover that revolution rhymes with expression. The paintings of Diego Rivera, Xavier Guerrero and all of those who will remain in art history under the name of 'muralists', exploded onto the walls of public buildings. In the transitional 1920s, between the old world, swept away by the First World War, and the new world that remained to be built, Tina and Edward commit themselves to the side of the guérilleros of art. From then on, for Tina, sex, freedom, art and politics prove to be inseparable from her way of life; a squaring of the circle that is difficult for Edward to solve. But while passion burns the senses, suffering stokes the fires of creation..."
T1 The Summer of Irreverence
Mexico, August 1923. Edward Weston has just abandoned his wife and children and joined his mistress Tina Modotti. Daughter of Italian emigrants, Tina started out on a career as a Hollywood actress before discovering a passion for photography, in Edward's wake. In Mexico, the lovers soon discover that revolution goes hand in hand with artistic expression. The walls of public institutions are colored with the vibrant paintings of Diego Rivera, Xavier Guerrero and all those who would go down in art history as ' the muralists.' In this pivotal period between the old world, still struggling in the aftermath of the First World War, and the new world, yet to be constructed, Tina and Edward become deeply involved in the artistic political movement of the epoch. For Tina, sex, freedom, art and politics become the pillars of her lifestyle, leading her to sometimes make choices that are difficult for Edward to deal with. But passion burns the senses, and suffering kindles the fires of creation...
T2 The Summer of Irreverence
The political, artistic and sexual effervescence of Mexico in the early 20s is followed by instability and doubt. There seems to be a spreading sense of disillusionment that neither Tina nor her friends will escape. Edward has gone back to the US, and Tina finds herself alone at a pivotal moment in her life. She oscillates between her commitment to the Party, her artistic struggles, her various overlapping love affairs, and her own journey of self-discovery. She seems to be incapable of choosing one path that will close off the others, unlike Edward. The political climate becomes increasingly tense, and opinions and destinies begin to clash. Summer comes to an end, and a long winter approaches.