Juan
Nos subúrbios de Buenos Aires, Gabriel acaba de alugar um quarto na casa de Juan, com quem trabalha numa marcenaria. Gabriel é muito quieto e tem uma filha pequena. Juan é um cara festeiro com muitas namoradas a disposição. Tímido e reservado, Gabo está relutante com os sinais e investidas de Juan. Seus sentimentos parecem estar no lugar, mas a atração entre os dois é inegável. O que começa como uma relação sexual casual, logo se transforma em um relacionamento íntimo e terno, que é tão doce quanto desolador.
Santiago Mitre co-directs his first movement following The Student together with choreographer Onofri Barbato. Although it would have been more accurate to say “his first film-story-adventure-movie-great movie following The Student”, the word movement fits perfectly in Los posibles, the most overwhelmingly kinetic work Argentine cinema has delivered in many, many years. The film deals with the adaptation of a dance show directed by Onofri together with a group of teenagers who came to Casa La Salle, a center of social integration located in González Catán, trying to find some refuge from hardship. Already entitled Los posibles, the piece opened in the La Plata Tacec and was later staged in the AB Hall of the San Martín Cultural Center. Now, it dazzles audiences out of a film screen, with extraordinary muscles and a huge heart: Los posibles is a rhapsody of roughen bodies and torn emotions. Precise and exciting, it’s our own delayed, necessary, and incandescent West Side Story.
