María Paz Bustamante

As the world begins to end, two children run away from home and meet an adult who betrays them. Later, one of them remembers the future that was possible.

Right from its original idea, ¨The Clues - Las Pistas - Lanhoyij - Nmitaxanaxac¨ surprises you. How come no one had ever thought of including the different cultures that inhabit Argentina to shape up a story about betrayal, rescues, double agents, and varied, imprecise intrigues? That’s the game suggested by Sebastian Lingiardi’s triple-named (from its wichi and Toba translations) first film, in which a series of apparently harmless characters weave a net of imprecise connections and goals, a plot of unknown limits that turns paranoia into a concrete reality.

Gustavo Salvatierra returns to his hometown, Sipo’hi, in the Chaqueño (the impenetrable forest in the north of Argentina), with the aim of listening and collecting stories of Wichí culture, transmitted orally from generation to generation.

Inhabitants of a Cuban people, inside their houses, make offerings to the chamber and the surrounding space. They project a cultural imaginary between placidity and lethargy.

As the world begins to end, two children run away from home and meet an adult who betrays them. Later, one of them remembers the future that was possible.

As the world begins to end, two children run away from home and meet an adult who betrays them. Later, one of them remembers the future that was possible.

Right from its original idea, ¨The Clues - Las Pistas - Lanhoyij - Nmitaxanaxac¨ surprises you. How come no one had ever thought of including the different cultures that inhabit Argentina to shape up a story about betrayal, rescues, double agents, and varied, imprecise intrigues? That’s the game suggested by Sebastian Lingiardi’s triple-named (from its wichi and Toba translations) first film, in which a series of apparently harmless characters weave a net of imprecise connections and goals, a plot of unknown limits that turns paranoia into a concrete reality.

Right from its original idea, ¨The Clues - Las Pistas - Lanhoyij - Nmitaxanaxac¨ surprises you. How come no one had ever thought of including the different cultures that inhabit Argentina to shape up a story about betrayal, rescues, double agents, and varied, imprecise intrigues? That’s the game suggested by Sebastian Lingiardi’s triple-named (from its wichi and Toba translations) first film, in which a series of apparently harmless characters weave a net of imprecise connections and goals, a plot of unknown limits that turns paranoia into a concrete reality.

Gustavo Salvatierra returns to his hometown, Sipo’hi, in the Chaqueño (the impenetrable forest in the north of Argentina), with the aim of listening and collecting stories of Wichí culture, transmitted orally from generation to generation.

Gustavo Salvatierra returns to his hometown, Sipo’hi, in the Chaqueño (the impenetrable forest in the north of Argentina), with the aim of listening and collecting stories of Wichí culture, transmitted orally from generation to generation.

Inhabitants of a Cuban people, inside their houses, make offerings to the chamber and the surrounding space. They project a cultural imaginary between placidity and lethargy.