Juan Barcellandi

In the 1980s, a team of lawyers takes on the heads of Argentina's bloody military dictatorship in a battle against odds and a race against time.

Morán works as a clerk in a bank in Buenos Aires. He is as good as invisible to his colleagues. Over dinner with his colleague Román, Morán tells him that he stole exactly $650,000, which is exactly double what he would have made until his retirement. He plans to turn himself in, but not before offering Román to split the money if agrees to hide it for the duration of his incarceration.

A cowboy arrives in a town in search of his daughter, a native policewoman arrests various offenders in a snowy landscape, while her niece, a basketball coach, reunites with her grandfather for a decisive journey that will shape her future, and a bird flies through time and space and begins to enter the minds and dreams of a native tribe in the Amazon jungle.

Sergio, Mali and Luz reluctantly agreed to spend Christmas in the country with their mother; in part because of the guilt they feel about saying no when she has just come out of the hospital after a heart attack, but also because it would be nice to escape from their frustrations for a while.

It is an approach to the figure of Fernando Martín Peña, but it is also a film about cinema, about a transcendental movement in its history, its spaces and rituals.

After almost 20 years, Fernando Martín Peña returns to the Faculty of Arts of the National University of La Plata to teach the subject History of Cinema II. Little by little, the reflections, questions and contradictions of the students who wonder about the study of the history of cinema begin.