Clara is worried to maintain the gathering with the women of her family friendly, but everything goes around the same feeling: asking forgiveness for being sad.

A heat wave strikes Buenos Aires and Juana has to stay while everyone is on vacation; for her everything seems repetitive and dull, and a pop song about the sea follows her everywhere.

Three rooms, three different moments of a relationship.

Two sisters come to an old family house on the outskirts of the city. They want to avoid his father, who is in the country after a long time.

Fleeing homophobic attacks, Nino moves to a rural house amidst a forest haunted by Almamula, a monster that takes those who commit carnal sins. In a world of whispers, unspoken desires and prayers, Nino’s curiosity and impulses rise to the surface.

This comedy of errors revolves around a hapless 30-year-old named Arturo. His penchant for indiscretions is as impossible to overlook as the finesse with which the film glides from March 2020 to the preceding decade and back again.

An unconventional portrayal of several young women witnessed in immersive yet indeterminate states: within their bodies, among their friends and lovers, and ultimately in a culture of economic and spiritual recession. Obliquely inspired by Bela Bartok’s sole opera, Bluebeard’s Castle.

In the midst of an inclement summer, Tavo works as a pool in a country town in the Buenos Aires suburbs, forming a silent part of a landscape and a community that keeps him at bay for class reasons.

Arturo, the successful owner of an art gallery, and Renzo, a talented but decadent painter, are old friends who cannot stop bickering. One day, Arturo comes up with a solution to all their problems, but the plan they concoct turns out to be crazier and riskier than they originally expected.