After many years of exile in Mexico, Mauricio has to return to his native Argentina for labor issues. He takes the opportunity to find his half sister Leonora, both are children of Martina, disappeared during the 1976 Argentine Military Dictatorship.

Vero lives with her older brother Abel, and they both work together at a construction site. There she has to put up with the advances of some of the workers, which is something she’s used to doing because she’s had this job since she was a lot younger. In the Border follows this character on her path to becoming a better person, which is represented in her way of helping a cousin with an abusive husband and in the NGO she signs up for to give food to the homeless who live on Paseo Colón Avenue. But there’s another parallel film here, and it’s the one in which Campusano’s eye captures the City of Buenos Aires in his own unique way. One of those great moments takes place as soon as the film begins, when Campusano stops to film some street musicians while they rap on a subway platform.

Mid 90's, coastal city. Clara and Miguel are two lonely people who meet. Luis and Viviana are a married couple dealing with their teenage son, Marcos. Lorena is a naive young girl. The sea and the sand will witness how these common lives are intertwined by the threads of destiny that uncover the deepest corners of their souls.

Violeta Rauch is not well. Like a frog that, without realizing it, boils to death, she has fallen prey to the deceptions of power, the ruin of consumerism, personal isolation, and the isolation of social media. Will she be able to save herself from this existential disgust?

Between erotic broadcasts and rituals of abundance, a young woman builds her routine clinging to the illusion of success and prosperity.