Skateboarders in Cuba build their own equipment because the US trade embargo cuts them off from the boards, wheels, and parts the rest of the world takes for granted. Director Phil Brown films the scene as it actually operates: riders salvaging scrap metal and old car parts to weld together ramps and rails, patching broken decks instead of replacing them, and gathering around phones and laptops to watch footage of skaters abroad they have no way to meet or compete against. The embargo sits at the center of the film as a daily, physical obstacle rather than an abstract policy, shaping what these young Cubans can ride, watch, and build. Brown stays close to the skate spots and the people who keep showing up to them, letting the makeshift gear and the workarounds tell the story of a community running a global sport on almost nothing. It is a short, plain look at how international politics shows up in something as ordinary as a skateboard.