Julio César Ludueña

It tells the complex relationship of Milo, a teenager, and his old protector. Adaptation of "Around the cage", work of the writer Haroldo Conti, disappeared in 1976 by Argentine dictatorship.

In this surreal (and little seen) Argentinean film, a rich upper class family's secrets are exposed during the course of an evening meal. Tensions mount as emotions run high and taboo subjects are explored such as incest and politics. As their dinner table conversation begins to escalate into physical and verbal altercations, the family awaits the arrival of a friend named Hallewyn. When the night is over, will their friend still be joining them?

The film tells how in 1970 a group of Argentine filmmakers - including Alberto Fischerman, Rafael Filippelli, Julio Ludueña, Miguel Bejo, Jorge Cedrón, Dody Scheuer and Luis Zanger - decided to make a short film each in one night. The occasion is perfect to describe the atmosphere of the '70s, the fever in which militants and publicists lived, the clash between art and politics. Includes fragments of the films The Players vs. Ángeles Caídos (Fischerman, 1969), Shadows (John Cassavetes, 1959), Made in U.S.A. (Jean-Luc Godard, 1966), L'eclisse (Michelangelo Antonioni, 1962), The Hour of the Furnaces (Pino Solanas & Octavio Getino, 1968), Tire dié (Fernando Birri, 1960), Alianza para el progreso (Ludueña, 1971), La civilización está haciendo masa y no deja oír (Ludueña, 1974) and La pieza de Franz (Fischerman, 1974).

A street kid named Lito says he is an angel that has broken his wings when he fell from the wky. Along his way, Lito finds friends and enemies; some protect him and others persecute him. But at night, everyone, young and old, dream of Lito.

In a city that has been bombed after a war, a priest, a worker and a student fight against the power of employers and trade unions.

Tensions between classes and genres, national and international, popular and formal, color and black and white, figurative and abstract revive the eternal discussion between opposites that the imaginary cronopios and famas represent.

Tensions between classes and genres, national and international, popular and formal, color and black and white, figurative and abstract revive the eternal discussion between opposites that the imaginary cronopios and famas represent.

Tensions between classes and genres, national and international, popular and formal, color and black and white, figurative and abstract revive the eternal discussion between opposites that the imaginary cronopios and famas represent.

Ulises is a young and innovative documentary filmmaker who films from his window. Without a script, pure chance, any corner. He seeks total objectivity and little by little a series of small everyday stories begin to take shape. He is very sure of his idea, but at the same time very close to it. Thus, without knowing it, he is putting the camera where it should not. What if someone else was waiting for those images to put together "another movie" in which Ulysses ended up being responsible for a crime? A story of dense and dreamlike air, of suspense and seduction.