Gaspar Scheuer

With her girlfriend lying comatose in the hospital, after having found her lifeless body in the bathtub, Clara starts the path of physical and psychological transformation with the goal of possessing her girlfriend again in some way.

After the fall of the military dictatorship in 1983, successive democratic governments launched a series of reforms purporting to turn Argentina into the world's most liberal and prosperous economy. Less than twenty years later, the Argentinians have lost literally everything: major national companies have been sold well below value to foreign corporations; the proceeds of privatizations have been diverted into the pockets of corrupt officials; revised labour laws have taken away all rights from employees; in a country that is traditionally an important exporter of foodstuffs, malnutrition is widespread; millions of people are unemployed and sinking into poverty; and their savings have disappeared in a final banking collapse. The film highlights numerous political, financial, social and judicial aspects that mark out Argentina's road to ruin.

Her father drew and painted. He also created murals and recorded family life with a home camera. He was interested in the intersection of justice and beauty, in everything that enchants the passing of the day and in every event that politically shapes an era. He painted horror, mercy, and imagination; he drew diverse human figures with his brush, sometimes associating them with situations that provoke indignation at a world order that favors the few. This is how Melina Terribili portrays her father, Carlos Terribili, a prominent Buenos Aires artist whose murals, such as "The Grey Angel," epitomize his technique and ideology. Terribili uses diverse materials: those she filmed recently in excellent resolution and in the 1990s on video with lower resolution, as well as fragments filmed on Super-8 and video by her parents.

Lila, a young Korean-Argentinean girl, navigates the contradictions of her identity and tries to find her place in the world. Her father, Antonio, arrives in Latin America 18 years earlier, and decides to bet everything on the promise of a young immigrant's dream.

A journey of years through many countries and film festivals; a nostalgic, adrenaline-fueled and rock-spirited immersion into the universe of cinephilia, in search of genre specialists, fans and filmmakers who speak of their shared passion for fantastic cinema; a whole international spiritual community united under the cathartic shadow of horror.

Above all, Delfín wants to participate in a Children's Orchestra that is forming in a neighboring city. This trip will mean an adventure for him, and also for his father.