Alfredo loses his job as a film critic after twenty years working for the same newspaper. His work mates have been trying to help him for a year because he is always drunk and angry, and his reviews have become sloppy. The cause: his wife and daughters have abandoned him and she is now living with Pablo, a famous artist. Alfredo wants to get his family back at any cost and tries to find out some terrible secrets about his new enemy to discredit him before Claudia...

A young working mother in Buenos Aires, Ana reads a note suggesting a relationship kept hidden by her husband, an executive preoccupied by his job. To solve the mystery she travels a long distance to Rio Escondido, an unimportant river town at the foot of the mountains in western Argentina, and the film becomes a journey of discovery as she finds her heart and her passion. Along the way, truths and perceptions intertwine when Ana meets Martin and she learns who and what he is.

This is Buenos Aires, its characters, its history, its reality. A complex movie for a complex city, depicted in the character's language, and in their relationship with the present and the past

Marcos (Gustavo Garzon), an existentially bored university lecturer, gets a grant to return to his birthplace to carry out biochemical research. There he meets old buddy Raul (Leo Masliah), who is now a priest. The story opens out to bring in their schooldays 20 years earlier, during Argentina’s politically active ’70s, when Raul was going out with Tamara (Victoria de Elizalde), who now lives in Paris with husband Paul (Ginger Poujoulet). The mature Tamara (Laura Melillo) returns to be with her sick mother, and Marcos unwittingly stumbles across some high-level politico-economic corruption on the part of the lab’s owners, led by Dr. Castembacher (Jean Pierre Reguerraz). In a piece in which perfs win out over plot, Garzon is satisfyingly nuanced as the disillusioned Marcos. Technically, pic’s restricted budget makes itself felt.