“Lezo Urreiztieta was a 16th-century pirate, wrongly born in 1907.” This is how the voice-over makes the protagonist known for the first time in the movie. Martinez himself reflected in the presentation of the film on how it is possible that a film about a character like this has not been made before, even if it is only a fiction. It is true that Urreiztieta has elements for starring an American film, but clandestine actions leave no trace. The 10-year-old was engaged in smuggling and consolidated over time. Besides bringing by sea the fugitives and weapons against fascism, Franco lived immersed in the planet of death.

The film revolves around the conversations between Ugalde and Urreiztieta, and is inspired by the words collected in the magnetophone to create the conductive thread. But Urreiztieta's testimony has a place to sit. The memories of family and friends are mixed with the explanations of historians, a thin balance between emotional testimonies and historical facts. From time to time, witnesses appear listening and reacting to the magnetophon. They listen to Urreiztieta's words with the audience and build bridges between them. As for the image, there is a predominance of the archive, of all kinds: photographs, images taken in the film, fragments of newspapers... all that can be used to draw the time. Adur Larrea has animated some accounts of Urreiztieta, experimenting with the record that can be used in the documentary. The relationship between the image and the film is made in a hyper-realistic style, in which it is constantly directed to each other. The rhythm of history has the ability to get it into the inside of the movie, as if we were in a kind of swing on the high seas.

The director, Josu Martinez, leads the viewer through the history of the smuggler to the end. The film has been built from the results of research on Urreiztieta, the secrets that hide a person's life. We do not know if God forgave Urreiztieta in his final judgment, at least it is clear that Martínez did not forgive him: his great triumph relates as much as defeats, his brilliant and dark differences. We can imagine the documentalist as a pantocrtor, because he can decide what counts and what he hides. After all, the stories of innocent saints are boring.