Alicia Scherson

An intimate play evolving around three main characters: an adult woman, her mother and her female lover. Two days in their lives occur in two opposing setting, everyday life in the demanding metropolis of Santiago and a sailboat trip cruising a beautiful bay. The three character remain trapped in a claustrophobic confrontation. The film dialogs with 'Knife in the water' from the side of women, an intense character drama with many involuntary humorous scenes. The eternal, never completed quest of seeing and recognizing the other as they are or, at least, as they want to be seen.

Waiting for his big dream (a film role) to come true, Pablo works as a training actor in a patient-care programme at a medical faculty and a paid participant in group therapy sessions. To make ends meet, he sublets a room in his apartment in a suburb of Santiago de Chile. However, he seems to have lost control when his housemate departs, leaving him with rent arrears, a collection of plants, a dog, a woolly jumper, and... a house ghost. Pablo is 30, and when it comes to romance he is also chasing apparitions. He is secretly still in love with his ex-boyfriend, a popular YouTuber.

During one hot summer day, little things happen to the visitors and workers of an old thermal resort in southern Chile. Julieta, Francisco, Isa, Rodrigo, Ignacio, Mariana, Muriel, Gabriela, Eliseo, Norma, Alejandra and Claudio experience the long vacation hours in nature, sleeping in the sun, learning how to drive, cleaning the house, kissing for the first time, swimming at night or just walking and talking, while the day slowly unravels into small fragments of happiness and discovery.

A doctor and expert in ethics, Sergio Graf has to fight the Chilean health system as a patient when he gets Guillain-Barré syndrome. It is a journey toward physical deterioration, a loss of safety, and returning to something that he has until now taken for granted: his family.

Just like in 1985, today Ignacio Agüero is back interrupting filmmakers during shooting, but not to ask what he did thirty years ago, but to find out what is purely cinematographic in what they film. These conversations are related to images in the director's personal archive, as if what is truly cinematographic was found among bits that were never made for the screen.