The writing further probes the character of Remo who is essentially working for a druglord (who earned a fortune from him over a period of time) given the amount of debt that he owes him. But his decline is pretty evident in recent times, much like the opening sequence that sees him drastically fail. He has also his pregnant girlfriend for company who is also a jockey. In a hilarious scene, she retorts to his question on whether she will ever love him again by saying that, he needs to die and be born again for that to transpire. Clearly, the romantic wavelengths of the two characters have been compromised in the midst of their gender awakening and fluidity that is a deterrent for both characters. But Remo must participate in a horse race one final time in exchange for clearing his debt, something that involves a new horse imported from Japan, who is oddly shown to similate a test on a treadmill (hilariously odd, I must admit). Yet, the mishap that ensues completely changes the trajectory of Remo in what is essentially a birth after his rebirth.

There is another hilarious scene wherein you are witness to Remo lying on a hospital bed wherein the doctor exclaims that his injuries are not compatible with life, almost as a reference to death following his accident. Yet, when Remo actually wakes up, all plastered up to his forehead, he is quick to snitch a handbag from the rug while also being inclined to heavy makeup even as he escapes from the hospital, even while being tracked by two henchmen employed by the druglord that he used to work for. But the more important theme that truly kicks in at this juncture is of Gender Fluidity. This basically meant that gender was no longer used as a focal point for Remo, who had transformed into Dolores, an identity of his that he had rediscovered after a few years. The proceedings are erratic and weirdly funny, even as you are consumed in the colourful journey of Remo/Dolores, that marks a significant shift in tonality, even with respect to the psyche of the protagonist while going hand in hand with its parallel theme of birth and rebirth.

The entire final act is no longer devoted towards a goose with a golden-egg who is on the run. In fact, the traces of gender-fluidity also extends to the character of Abril (Remo’s girlfriend) who finds her soulmate in another character of Ana, while also breaking the tone and grammer of a deliberately unsettled drama by breaking into a dance. In another scene, she recognizes Dolores and forms a bond of friendship, even as Dolores is shown to hilariously murder the man she once worked for (Remo’s druglord). Almost immediately post that, you see another rebirth of Dolores who is giving life-lessons about horses in jail before another rebirth that sees her transform into Remo again who is known to love racing as a jockey. These frequent births and rebirths are consistent with regard to its final act that is used as a clever callback or a recall to the dynamics between Abril and Remo at the start of the film (wherein Abril remarks of him having to die and be reborn again). The screenplay is brilliantly colourful and deliberately odd while tackling with the complex themes of gender fluidity amidst the concept of birth and rebirth.