Sonia Mena

Ana, Verónica, Marta, and Toro are four lonely people who live an unadventurous and quiet existence in southern Chile. They are with each other without the need of using words, trying to save themselves in a stealthy and extreme way. In order not only of getting away of the loneliness that constitutes their innermost core, but also of finding themselves, they reach for each other to get brotherly and sexual love, affection, and a space and time of their own.

Gáspar is a public employee and Rebeca works in a funeral home,they reflect the discontent of a generation that has suffered the vicissitudes of Chile in the 1980s. Through it, the film explores how the working middle class survives such a convulsive environment.

Gastón Fernández has arrived at 34 without too much to show or brag about. He has no money, job, girlfriend, friends or life plan. He's a composer that doesn't compose. The one-time "most likely to succeed" at Santiago's Musical Conservatory has passed from promise to failure. He feels he is beginning to wander alone. Isolated and detached. Gastón feels that everyone judges him and see the word loser tattooed on his forehead. At the same time, an alter-ego, a sort of doppelgänger, haunts him.

Cristina has spent her life taking care of her mother Carmen. Single and without a trade or friends, she grows older, year after year in her hometown. A few days from her birth- day, Cristina reconnects with Sandra, a former schoolmate who will show her other ways to live, freely and without prejudice.

Adriana finds out the son she's expecting suffers a brain malformation that won't allow him to live outside her womb. As therapeutic abortion is illegal in Chile, she must wait until her baby is naturally born.

Sussi comes to the big city to find love and success.