Barbara is a sexy stripper, but she is dedicated to her husband. When a rich and above-the-law land-owner orders the murder of her husband to get her, she plans, and conducts, deadly revenge. She starts by intriguing between the rich man and his sons, who also had abused her, so that he has two of them killed, and then she sets out against the actual killers, shooting them herself, and leaving the old lecher and his older son to the last. The final confrontation has some surprises, though.

Laura is a young woman living in a mansion with her maid Andrea. She meets and falls in love with Carlos, a man of high society who sees in her a vivaciousness he so longs to have in his life. But little does he know what troubles lie in store for him. Laura suffers from a dangerous case of nymphomania, desiring any man she lays her eyes on.

Following a forgotten piece of underwear, a single who lives with his uncles has a series of entanglements.

It is the reconstruction of the history of the Buenos Aires English High School and of the legendary Alumni club, made up of its students, who dominated Argentine football in the first decade of the 20th century and its president, Alejandro Watson Hutton, The first president of the Argentine Football Association, considered the father of Argentine football.

This is a comedy full of tangles, with the picaresque occurrences of Tristan, and the involvement of frontline actors.

A reporter and tango singer is sent to the war zone in 1916, where he loses his memory.

The daughter of a bourgeois family is seduced, pregnant and dragged into a seedy environment.

Leopoldo Torre Nilsson, at the age of 22, made his directorial debut with this little-known auteur short film, based on one of his short stories, which contains the seeds he would develop in future works: loneliness, the conflicts and morals of society at that time, its loss of identity, and literary themes. Although Torre Nilsson himself used to define "The Wall" as "a sin of youth," it already reveals a different kind of cinema, with a certain expressionist touch, a reflection of his literary restlessness and an early and natural rejection of the commercial vision of cinema at that time, a rejection he would maintain throughout his career, in which he would crash against another wall, that of censorship, more than he would have liked.