In All the Shipwrecks (“Todos los naufragios”), Canor has just returned to Nozaleda, his fictitious hometown in Asturias, Spain, in the 1920s. After making his fortune in Cuba he is now at least as rich as the Santaclaras, an old landowning family for whom his family had worked for generations. Canor’s son Onel and the Santaclara’s son Gregorio are kids when they meet. They are soon united by a deep friendship that will last a lifetime, despite all the contrasts between them: Onel has dark skin and is rejected by the town priest Clemenciano, who sees him as the incarnation of evil; Gregorio on the contrary has been raised in a traditional, conservative family, which owns much of the town of Nozaleda, a feudal village with the priest at its helm. When Flora, the new teacher, arrives from Madrid, the women of the village glimpse the possibility of a new world: they learn to read and write, and hear new words such as “emancipation” or “right to vote”. Flora marries Canor and takes care of his children, while Onel’s biological mother, a Cuban dancer who had left Canor seeking a better future in the USA, spends her whole life looking for her son. At the same time, Flora’s brother Emilio, an anarchist of the soul, brings politics to Nozaleda. Neither Flora and Canor, nor Onel and Gregorio can escape it. Aligning themselves with the anarchist movement, they are confronted with repression, including by Clemenciano, representative of the Catholic Church and enemy of any kind of change, who made a pact with the falangists. Political turbulences in dark times sow betrayal, further exile and even death, but cannot break the friendship between Onel and Gregorio.