Carlos Clausell

Ugo, magician and “grouchician” (as he defines himself), lives from drink to drink in a crowded, eclectic working-class neighborhood that seems like a setting from another era – a place where working is frowned upon and one can have anything except for obligations. There, he drags his feet on an existentialist nighttime walk, wandering through the labyrinthine refuge of the neighborhood streets in his own mind.

Ugo, magician and “grouchician” (as he defines himself), lives from drink to drink in a crowded, eclectic working-class neighborhood that seems like a setting from another era – a place where working is frowned upon and one can have anything except for obligations. There, he drags his feet on an existentialist nighttime walk, wandering through the labyrinthine refuge of the neighborhood streets in his own mind.

Ugo, magician and “grouchician” (as he defines himself), lives from drink to drink in a crowded, eclectic working-class neighborhood that seems like a setting from another era – a place where working is frowned upon and one can have anything except for obligations. There, he drags his feet on an existentialist nighttime walk, wandering through the labyrinthine refuge of the neighborhood streets in his own mind.

Ugo, magician and “grouchician” (as he defines himself), lives from drink to drink in a crowded, eclectic working-class neighborhood that seems like a setting from another era – a place where working is frowned upon and one can have anything except for obligations. There, he drags his feet on an existentialist nighttime walk, wandering through the labyrinthine refuge of the neighborhood streets in his own mind.

Ugo, magician and “grouchician” (as he defines himself), lives from drink to drink in a crowded, eclectic working-class neighborhood that seems like a setting from another era – a place where working is frowned upon and one can have anything except for obligations. There, he drags his feet on an existentialist nighttime walk, wandering through the labyrinthine refuge of the neighborhood streets in his own mind.

In recent years it has become the handiest character of Mexican cinema: the Chilango fleeing the capital to the province in search of something. But this case is different because the trip is used as an excuse to illustrate, through documentary techniques, the deep contrasts of Mexican society. Tired of the city, Javier goes to visit his aunt, an eccentric woman with quite radical ideas, who lives isolated from the world in a ranch in Querétaro. Javier works as a laborer for an Argentinean foreman, with whom he shares a few passions. His life begins to change.