Diego Schipani

During the last dictatorship and in the first years of return to democracy in Argentina, the under movement suffered attacks, exiles, arrests, ridicule and disqualification for a large part of society and applause from a minor group of people. In that underworld, Transformism was located as a form of expression cultural and artistic. Bernarda is the homeland, deconstructs the gender binary from Lorca and those movements of culture of the 80 '.

Two estranged sisters have to live together after many years of a bar relationship. All their past comes back to haunt them with some funny and strange circumstances.

Ulises is thrown out into the streets of Buenos Aires by his boyfriend, Pablo, but not before taking money and a gun from him. When the theft is discovered, Pablo sets out to track down Ulises. As the hunt ensues, both men become more and more entangled in gay nightlife and their memories of one another.

This film is a combination of genres (docu-fiction, comedy-musical, mockumentary and drama-ponele) endowed with grace. It is a culebronizado backstage of the rehearsals of the musical Ella, homage to Rafaella Carrá, where Christopher Guest entrenches a group of dancers and choreographers, following them closely in their problems of love and of makeup. It shows situations of contagious pop vitality, and music and dance set the stage for a shocking ending, which kindly suggests rethinking various representation problems: Schipani and Montiel seem to have known in advance that it is dangerous to always tell the truth