María Figueras

Graciela travels to a residential neighborhood on the city outskirts for a peculiar job that will leave her in between of a two strangers' relationship and their past.

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Mirta is doing her best to navigate the social and economic crisis pummeling Argentina on the eve of the 21st century, after all, she's got an unemployed husband, three stressed-out kids, and a drug addict father-in-law to look after. As the crisis promises to boot the family from the middle class, Mirta decides to open a pizzeria that will serve slices with lots of laughs and extra drama.

Miranda is a 48-year-old teacher who changes her perspective on life when she hears reports of harassment and abuse from the students at the school where she teaches. Over the weekend she will decide that it's time to hear her voice and make it heard along with many others.

Abril tries to find meaning in her own life. In the process, her perception changes; her skin transforms to the point of becoming a new one.

An Argentine theater company sets off on a tour of various towns in France, performing Anton Chekhov's The Seagull, directed by Daniel Veronese. The actor who plays Treplev—the writer in love with Nina—and Perroud, a young film director, record this trip. What begins as a travelogue transforms into a duel of viewpoints: that of Perroud's camera versus that of "the Actor who plays Treplev."

A post-apocalyptic universe. A metropolis of two societies. On the surface, a regime that isolates the individuals in elite. A whole city scraped in the underground, where survival is the only law. Up and down don’t merge. Yet the Mole will climb up to fulfil his dreams.