Ezequiel Fernández

Mario and Silvia are a typical Montevidean middle class couple, going through the trauma of retirement. Due to Mario’s oversight in what was to be one of his last operations a small dog dies. Shortly after, Mario and Silvia find that thieves have entered their house. They have no choice but to leave and stay at their daughter’s house, where they will enter a spiral of insecurity and paranoia that will drag them to violence and nonsense.

Marcos Andrade likes parties and having an easy life. He works for a powerful businessman, accused of wrongdoing. When Marcos meets Natalia, his life changes and he begins to settle down. His boss hires thugs to get rid of him after he discovers his secrets. This will provoke the wrath of Marcos who will seek to do justice by his own hand. Hiding his face behind a mask and sheltering himself in the darkness of the night, Marcos enters the world of the businessman and begins a hunt that will bring him face to face with his enemy.

Marcos Andrade likes parties and having an easy life. He works for a powerful businessman, accused of wrongdoing. When Marcos meets Natalia, his life changes and he begins to settle down. His boss hires thugs to get rid of him after he discovers his secrets. This will provoke the wrath of Marcos who will seek to do justice by his own hand. Hiding his face behind a mask and sheltering himself in the darkness of the night, Marcos enters the world of the businessman and begins a hunt that will bring him face to face with his enemy.

The imminent closure of a small cinema in the Constitución neighborhood of Buenos Aires, Argentina, will be the propitious element to reflect on the mystique of the cinemas of yesteryear and on the figure of the film projectionist. A personal homage to the liturgy of cinema, its ghosts and its dreams.