An Uber driver is charged with the death of one of its passengers. To try to prove his innocence, he starts an investigation on his own and is considered a fugitive by the police. This search is tensioned by the attraction he feels for the man he believes to be the culprit, a self-defense teacher at a private security training school. Circulating in environments where homosexuality is as repressed as it is latent, he will have to confront his own prejudices and those of the society in which he lives, at the risk of his own life.
At the heart of MALIBU’s plot is a crime and the mystery that surrounds it. We follow this narrative from the point of view of Mariano, protagonist of MALIBU, who then assumes a very classic persona in the history of cinema, that of the man wrongly accused. The figure of the character who needs to prove his innocence is one of the most empathetic in the protagonism of crime and mystery stories, including some classics of cinema noir that include the transformation of the character into an investigator on his own. There is still something darker in Mariano’s odyssey and this has to do with the nature of the crime he investigates. As important as unraveling the plot and proving its innocence, it will be to approach the mystery that leads to crime, to violence, to the darkest recesses of the human soul and of our society. By portraying a man’s difficulty in dealing with his desires, MALIBU promotes a reflection on how the taboo of homosexuality affects, individually, different forms of violence.