“Not everything is what it seems”. This is the motto of Fernando Pérez’s Madrigal, an esoteric fable built, in the first part, around a handsome actor’s love story with an overweight and homely girl (does he have eyes for her, or for her swanky apartment?) and, in the second part, recounting the story of a futuristic novel the actor is writing (which turns Havana into some dark orgyesque playground with a film noir tone).