Clavo is a romantic daydreamer of a boy. Polilla is a fierce and beautiful girl. They both wake up in a strange world with a terrible thirst; a world where trees have faces, and where unique and fearful creatures roam. Above all things, and nevertheless, there are no sources of food to be found. Therefore, Clavo and Polilla must come up with a plan in order to survive.

Summer, 1984. A young couple decides to go on a holiday trip to a quiet hotel in the province of Buenos Aires

Renata skips school to look for Max, her older sister’s recent ex-boyfriend. They share a farewell lunch, but only at the end does she realize she will never see him again.

Manuel Jiménez receives some clandestine wiretappings that he has to transcribe. Because of this, and almost without wanting to, he enters a kaleidoscopic plot that involves a group of people at a party, their later walkabouts around the city at night, and their relationship with the secrets hidden inside Vodka’s diary.

Dance becomes a vehicle to show love's different phases. Amor y Asfixia consists of three scenes that seek to dismantle certain social stereotypes linked to the women's body and its role in dance. It's a short film that experiments with the human body to initiate a bigger discussion.

Is this film about Clorindo Testa or not? Is it about the life of the director, about the life of his father, about the life of his country, or is it just one of those biographical films that proliferate at film festivals in which the narrator spends his time recounting family anecdotes and pulling old photos out of a box? This small, microscopic adventure, whose subtitle, stolen from the Savoyard Xavier de Maistre, could well be Voyage autour de mon père, navigates between these threats and others even worse.