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After his father's death forces him back to the village he fled more than twenty years ago, a celebrated chef must live under the same roof as the brother who never forgave him for leaving. As he attempts to restore their father's old motorcycle, both men are forced to confront the wounds that kept them apart before they can start again.

After more than twenty years away, Toño, a celebrated chef living in France, returns to his village for his father's funeral. Felipe, the brother who stayed behind, has never forgiven him for disappearing without an explanation.

In the family corral, their father's old Montesa Impala 2 has been waiting for decades. Driven by guilt and memory, Toño decides to restore it despite knowing almost nothing about mechanics. Felipe watches with a mixture of mockery and resentment: fixing a motorcycle cannot repair twenty-two years of absence.

Felipe's thirteen-year-old daughter, Elena, becomes an unexpected bridge between them. As the motorcycle slowly comes back to life, so does the family history both brothers have spent years avoiding.

A motorcycle standing still. A family history waiting to move again.

The Montesa Impala 2 is both a concrete task and the emotional measure of Toño's return. Every part he manages to recover brings the past closer, without promising that everything broken can be restored.

A warm, restrained family dramedy in which humour grows from character, friction and the awkwardness of sharing space again. Stone, dust, faded ochres and late-afternoon light give the rural setting the imperfect warmth of memory.

The camera begins by keeping Toño and Felipe apart — through doors, furniture and different planes of the frame — then gradually allows them to share space. The restoration is filmed physically: grease, rust, stubborn bolts and failed starts. The motorcycle is never a neat metaphor or a shortcut to reconciliation.