Willi Behnisch

Ani, an apprentice hairdresser who loses her job meets Danilo, a forty-something street scissors sharpener.

A unique case in Argentine cinema, this film isn't narrative; it questions the gaze and its impossibility of closing itself off, its inability to refer to anything beyond the visible. Arid and demanding, this unidentified audiovisual object affirms that stories are deceitful, that retinas are impregnated with images, and that, for that very reason, it's worthwhile to have a new perspective.

Ani, an apprentice hairdresser who loses her job meets Danilo, a forty-something street scissors sharpener.

A unique case in Argentine cinema, this film isn't narrative; it questions the gaze and its impossibility of closing itself off, its inability to refer to anything beyond the visible. Arid and demanding, this unidentified audiovisual object affirms that stories are deceitful, that retinas are impregnated with images, and that, for that very reason, it's worthwhile to have a new perspective.

A unique case in Argentine cinema, this film isn't narrative; it questions the gaze and its impossibility of closing itself off, its inability to refer to anything beyond the visible. Arid and demanding, this unidentified audiovisual object affirms that stories are deceitful, that retinas are impregnated with images, and that, for that very reason, it's worthwhile to have a new perspective.