

En una ciudad desconocida, en un edificio a través de las ventanas se puede ver el momento exacto en el que las cosas cambian. El antes comienza a ser el después y viceversa. Y nada vuelve a ser como antes. En este universo idéntico y diferente a la vez, se ve como los personajes cambian para siempre. In an unknown city, in a building through the windows you can see the exact moment when things change. The before begins to be the after and vice versa. And nothing goes back to the way it was before. In this identical and different universe at the same time, it is seen how the characters change forever.
Director: Nicolás Tuozzo
Writers: Vera Fogwill, Victoria Benedetto, Nicolás Tuozzo
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In summer 2025, the Van Drayens gathers at their secluded estate, The Château, for their annual family dinner. But as the patriarch reveals the contents of his will, simmering tensions erupt, threatening to tear the family apart.

Deep in the lush river jungles of Argentina, Alvaro lives a solitary existence fishing and harvesting reeds. What sets him apart from the rest of his village is that he is gay. There are no other gay men in his world, his only means of expression is with the occasional outsider who passes through. Most of these men come via the river taxi El León, whose captain El Turu is a mean man with a homophobic streak and a secret. When illegal loggers appear in the jungle El Turu accuses Alvaro of aiding them, a dispute which leads both men towards confrontation.

An accidental meeting between a French woman who goes to South America to adopt a baby and an Argentinian woman who with her small son leaves their hopeless village in search for a better life changes both of their lives forever.

A doctor works in a clinic in a village run by his sister's father-in-law. When he meets a villager, he realises that he and his gang had ragged and murdered his son at the medical college's hostel.

Eleven young film-makers got together to collaborate in this atypical project. Atypical not only because of its technical specs, but because of its narrative structure. There are several scenes with only the city in common, and more as a conceptual presence at that than as a precise geography. None of those scenes contains a single "story": Each one of them is part of a larger situation that we cannot see, as though the beginning and end of each "story" had to be filled in by the audience.
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