A 14-year-old girl named Madeinusa lives in a remote Andean village whose name means "the town where no one can enter" in Quechua. A geologist from Lima is stranded in this inhospitable place because of the floods in the area. The annual Tiempo Santo (Holy Time) celebrations are approaching. The villagers believe that for the three days between the Crucifixion and the Resurrection, God is dead and therefore sees no sin. Everything is permissible. 

Like the city dweller in the remote mountain village, when we delve into the cinema of distant regions and its historical and cultural contexts, we always run the risk of misunderstanding, of missing nuances. This is why MADEINUSA seems to us to be so important in the ongoing process of learning from films, of learning to talk about them and to recognise our political and unconscious prejudices through them. Claudia Llosa's debut has received both fierce criticism and praise, both in Peru and abroad. Critics consider the film's biggest problem to be the fact that the director, a young middle-class white urbanite, portrays a Quechua tribeswoman from a remote region of the Andes.