Néstor Lescovich

It summarizes the encounter, at the end of 1999, between the bewildered Victoria and a man who has just arrived from Madrid to meet her on the last day of the millennium. The minimal dramatic substance of this situation acquires a singular character insofar as that man is her father: the girl is 27 years old and it is the first time she is going to see him.

Rafael (Dumont) is a desolate retiree who doesn't want to live anymore and who travels to Mendoza with the idea of committing suicide. He stays at a small-time hotel called Rex, and there he meets Gladis (Spelzini), a lonely woman who works as a maid and takes care of her blind brother. Both live a sad life, with many marks from their past, but little by little a relationship between them is emerging.

Fantasies, those states of mind that can be fleeting or eternal, are the central theme of the film. A man in his fifties, remarried to a younger and very beautiful woman, imagines for a long moment—the length of the film—a relationship between his wife and his 20-year-old son. Within the story—and the fantasy—there is a complex network of time periods that makes it impossible to separate reality from imagination.

A mature woman and a younger man are romantically related.

A woman working for a crime lord must find out who stole a sum of money from her boss.

No synopsis available yet.

It summarizes the encounter, at the end of 1999, between the bewildered Victoria and a man who has just arrived from Madrid to meet her on the last day of the millennium. The minimal dramatic substance of this situation acquires a singular character insofar as that man is her father: the girl is 27 years old and it is the first time she is going to see him.

It summarizes the encounter, at the end of 1999, between the bewildered Victoria and a man who has just arrived from Madrid to meet her on the last day of the millennium. The minimal dramatic substance of this situation acquires a singular character insofar as that man is her father: the girl is 27 years old and it is the first time she is going to see him.

Rafael (Dumont) is a desolate retiree who doesn't want to live anymore and who travels to Mendoza with the idea of committing suicide. He stays at a small-time hotel called Rex, and there he meets Gladis (Spelzini), a lonely woman who works as a maid and takes care of her blind brother. Both live a sad life, with many marks from their past, but little by little a relationship between them is emerging.

Rafael (Dumont) is a desolate retiree who doesn't want to live anymore and who travels to Mendoza with the idea of committing suicide. He stays at a small-time hotel called Rex, and there he meets Gladis (Spelzini), a lonely woman who works as a maid and takes care of her blind brother. Both live a sad life, with many marks from their past, but little by little a relationship between them is emerging.

Fantasies, those states of mind that can be fleeting or eternal, are the central theme of the film. A man in his fifties, remarried to a younger and very beautiful woman, imagines for a long moment—the length of the film—a relationship between his wife and his 20-year-old son. Within the story—and the fantasy—there is a complex network of time periods that makes it impossible to separate reality from imagination.

Fantasies, those states of mind that can be fleeting or eternal, are the central theme of the film. A man in his fifties, remarried to a younger and very beautiful woman, imagines for a long moment—the length of the film—a relationship between his wife and his 20-year-old son. Within the story—and the fantasy—there is a complex network of time periods that makes it impossible to separate reality from imagination.

A mature woman and a younger man are romantically related.

A woman working for a crime lord must find out who stole a sum of money from her boss.

No synopsis available yet.