Álvaro Buela

34-year-old Pamela is a small and shy woman. She works at the cash register of a supermarket. She attends a religious temple led by a Brazilian minister. She periodically visits her autistic mother. She is an anonymous character, leading a meaningless life. Suddenly, a miracle occurs. Messages of a marvelous destiny start to reach Pamela in unusual ways: a client, a gentle and charismatic transvestite, her own mother, dreams, bar codes, real and imaginary signals. The Savior of the Next Millennium is apparently on his way and everything indicates that she, being a virgin, is carrying him on her entrails. Impelled to face herself, Pamela undertakes an inner voyage. A paradoxical voyage: the more mystic she grows to be, the more human she becomes.

An unrepenitent Don Juan, an introverted buddy, their girlfriends, and the women they have their eyes on—all mix in the nightlife of Montevideo.

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Shot in only one night following the experiences and methods of the Situacionists about redifining the urban scenario, Adrift tries to find new meanings in the city landscape, to catch furtives atmospheres, to treasure instants, to integrate the chance in a journey that, in retrospective, asumes a new, autonomous form. In that sense, it's an experiment that uses the streets to perform a human comedy in perpetual movement.