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The setting is Los Angeles, and his hero is Black, a cross-dressing native Angeleno mural artist of Salvadoran and Nigerian parentage who's haunted by visions of the Virgins of Fatima and Guadalupe, fixated on a transsexual Mexican stripper named Sweet Girl, and often visited in the City of Angels by the archangel Gabriel, who's given to masquerading as a pigeon.
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To be sure, The Virgin of Flames has its weaknesses—from a sketchy plot to a fantastical set-piece ending in which objects fall out of the sky, owing a little too much to Paul Thomas Anderson's movie Magnolia.

And yet, for all its lack of forward momentum and stilted dialogue, The Virgin of Flames is full of passages of lyrical beauty that render the cultural melange of modern-day Los Angeles with openhearted grace.