Leo Masliah

An audiovisual producer in crisis receives the host of a Dutch travel program in Montevideo. Hidden emotional problems and an old debt to the local underworld threaten to derail the expedition.

Como todas as salas de cinema pelas quais nos apaixonamos e que nos ensinaram a gostar de cinema, a cinemateca uruguaia está fechando suas portas pois não dá lucro. Trabalhando lá há vinte e cinco anos, o 'faz-tudo', Jorge, terá que abandonar um mundo de ficções e tentar encarar a vida como ela é, lá fora.

The vicissitudes of a musician fresh from prison that seeks to resume playing music with his band, the Chevrolés, whose members are scattered around the city, earning a living wage through various activities.

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.