Martin Feldman

Luciano works in birthday parties and writes his first feature when friend Manuel returns from Spain to repeat his TV show, "The Paranoids", together with his girl Sofia. Manuel is everything he is not and him trying to be helpful in his career and with women, only worsens the conflict.

Martin est phobique mais se soigne. Petit à petit il parvient à sortir de son isolement, de son studio et de sa réalité virtuelle. Il est web-designer. Mariana sort d'une relation longue. Elle est perdue et confuse, à l'image du désordre qui règne dans son appartement. Martin et Mariana vivent dans la même rue, dans des immeubles l'un en face de l'autre mais ne se sont jamais rencontrés. Ils fréquentent les mêmes endroits mais ne se remarquent pas. Comment peuvent-ils se rencontrer dans une ville de trois millions d'habitants? Ce qui les sépare les rassemble...

Il reste 24 heures avant que Lucia et Marcelo puissent aller demeurer dans la maison de leur rêve. Alors que la conclusion de l’entente est prévue pour le lendemain, le couple doit cacher dans son appartement un montant de 100 000 $ qui servira à finaliser la transaction. L’argent étant la principale pomme de discorde dans les rapports amoureux, la tension monte d’un cran entre Lucia et Marcelo au point tel que leur cohabitation est remise en question. En revanche, l’agressivité de l’un envers l’autre semble bizarrement opérer comme une force d’attraction.

Luisa works temporarily babysitting children in a factory. For an inopportune occasion, they are left with their boyfriend in charge of a boy who accidentally suffers from drug poisoning. Luisa and her boyfriend will be involved.

Without a doubt, Angélica is having a crisis. Her mother died recently, she has to empty out her childhood home because it is going to be demolished, she doesn’t seem to have gotten over her split with her ex, and she is about to turn 40. Without any idea about how to deal with any of these things, she escapes to the past: she secretly hides in her childhood home and, while the walls fall around her, reality becomes hazy. Hidden in her house, that is both a shelter and a trap, bit by bit Angélica loses herself, fusing with her mother. Delfina Castagnino creates an elliptical and sinister tale, sowed with disturbing sounds and shadows, a film in which a framing, a musical note or a camera movement can transform peeling wallpaper into a threat, or the projection of a slide image into a ghost. And so what could be a family drama becomes a psychological thriller: Angélica turns mourning into a tale of horror.

The godmother and Perla are the world to "the little girl," a world defined by the four walls of a studio apartment with one window looking nowhere. Only space and alter the monotony, the blood transfusion sessions to which must be submitted Pearl and almost anonymous sexual encounters of the baby.