Eduardo Ayala

Mexico City, early 90s. The day Bruno turns 11, his growing feelings for his best friend Vladimir clash with the sudden announcement that his father has HIV. Like in salsa songs, his family tries to sing and dance their pain away. Thirty years later, Bruno films and reimagine the memory of what he could not quite perceive as a child.

A television network infiltrates an inept employee (Porcel) in the competition and he begins to ruin all the programs but, instead of subtracting audience, he only managed to improve it.

Alberto, an employee of a car dealership, is commissioned by his boss to deliver a car that has been sold to a customer. Being a luxury car, he has no better idea than to invent an excuse to the new owner of the vehicle, delay delivery for the next day and use it to go out to have fun at night with his faithful friend Jorge. They both go to a revue theatre and, while witnessing the performance, the first vedette (Corina) faints. Then Alberto and Jorge pose as doctors, in order to meet Corina. As is to be expected, both decide to continue the deception with the passing of the days, causing the confusion to become bigger and bigger and harder to keep secret.

This is a comedy full of tangles, with the picaresque occurrences of Tristan, and the involvement of frontline actors.

Three stories of ordinary people intersect on Christmas Eve: a dentist desperate to find his son's toy; a writer who is not happy and decides to look for the woman of his dreams; and a doctor who intends to flirt with a Spanish woman.

It tells the story of three friends - two filmmakers and a producer - who embark on the filming of a film during the time of the Argentine military process and expose the operation of censorship, powerful instrument of the time, about the project. The protagonists must choose between allowing military impositions or self-censorship.