In 1991, Flavio Cabobianco, who was ten at the time, brought out an Argentinian bestseller featuring New Age themes entitled I Come from the Sun (Vengo del Sol). The book sets down ideas formulated by Flavio and his brother Marcos on extra-terrestrial existence, and incorporates reflections on the ontology of the universe developed by the boys since their pre-school years. Twenty years later Flavio has agreed to an offer from a young documentary filmmaker who plans to shoot a film about this child prodigy and his family. When Flavio gradually realises that Solar does not show him to be a literary genius, but more a young loner with a wounded soul, he decides to intervene… Is this an unconventional documentary portrait of an unhappy childhood with controlling parents? A psychological study of an ambitious and self-important young man? Or a remorseless tug-of-war between the director and the protagonist for a hypothetical director’s chair? Whatever Solar turns out to be, it may not always be a good idea to let go of the camera. But what if handing over the creative reins is the only way to save your film?