In Bosch’s hell, she was condemned to look at her own reflection. Forever. Condemned by her vanity, she is vanity. Spirit that wanders through the darkness of the Garden of Earthly Delights. She is vanitas. A latin noun means ‘emptiness’ and ‘vanity.’ And it also refers to the ‘vanitas’ paintings of the Middle Ages. A type of symbolic work of art from northern Europe and the Netherlands, from the sixteenth and seventeenth centuries, which seem like a morbid artifact, but act as a reminder of the ephemerality of life. Memento mori, or ‘remember death.’ A poignant message from Art comes to this film. Because today we do not share pains and failures. And so vanity is the price to be paid. Such a move made vanity a virtue, no longer the capital sin of pride. Bringing among its characteristics immortality. We are the civilization that put death aside. Therefore, the idea of this work is to exhort the spectator to consider mortality. Pondering about death is, paradoxically, pondering about life and temptations. Observing ignorance about false values, this dancing spirit warned that ‘our vices and horrors, dishonorable passions, wild, blind, dangerous irrationalities, our unconfessable impulses …’ has an end. This is the drama.