Back in Mexico, Diego feels creatively stifled. He complains about exhaustion, and claims he’s not well enough to paint. And for Diego, painting is oxygen. Frida’s alarmed. She has no idea how to help her husband. So she turns to her sister Christina for help. Christina and Frida are each other’s best and most trusted friends. To jumpstart Diego’s creativity, Frida suggests, perhaps he should try painting Christina. Sure enough, painting Christina revitalizes Diego. Soon she becomes his favorite model—and then, his lover. As an artistic duo, Frida and Diego are neither competitors nor collaborators. They’ve always been each other’s biggest champions. Their conflict, when it’s come, has never been professional, it’s always been personal. And this particular betrayal is so personal. It wrenches Frida and Diego apart. And though Frida can’t fathom it in this agonizing moment, that space will finally provide the artistic liberation she craves.