Max returns to her slum turned into the vocalist of a rock band. There, the memories await, the latest news and the truths that were silent for years: Sonia is a voice that speaks from the death.

Felix (56) a criminal boss in the south of Mexico, has always wanted to go to San Francisco so see how drawbridges rise for ships to go through. Misela (23), whose romantic partners die if they make her cry, seeks comfort in her mother and wants to know where she is buried. They are father and daughter, and one must betray the other in order to go on living.

While their mother unpacks removal boxes, Valentina (5) and Quique (11) run riot around the flat. Their parents have separated. When their father picks them up to show them his new, old life, the children receive a painful glimpse into the adult world.

Fatherland brings a rigorous structural approach to a site of monuments that is also a place of movement, criss-crossed daily by tourists and locals. The grounds are laid out like city blocks, with wide avenues branching onto laneways filled with elaborate mausoleums. The film does not attempt to tour the cemetery as one would on foot, however, but rather moves chronologically through the history enshrined there. A series of individuals are framed in static compositions as they read aloud excerpts from the writings of noteworthy Argentines interred within. (Some license has been taken, as the final resting places of certain figures represented - such as journalist Rodolfo Walsh, who was among the "disappeared" - remain unknown. The result is both poetic and political.) Beginning in the early 1800s, this history comprises civil war, battles with the country's native population, the conflict between the city and the provinces, and years of military dictatorship.