Brian Jacobs

It's Christmas, and in a desolate clinic, a nurse (Norma Martinez) prepares to attend to a patient. With the nursing technician (Stephie Jacobs), she cares for a young man (Nacho Elías) who has suffered a heart attack and is unconscious in the intensive care unit. Ten minutes before midnight, he dies, and a dance begins between the three of them. As the clock strikes twelve, everything freezes until seconds before the young man's death, and the story rewinds to the moment the nurse (Martínez) leaves to attend to the patient.

A day in the life of three teenagers playing like children. The line between play and reality begins to blur. They are no longer children. That stage of life died long ago. Now reality seems painful and unbearable. Although this could also be just another game.

A maid does the housework: she cleans the toilet, polishes the living room, makes dinner, does the laundry. In the meantime, she secretly desires the teenager of the house where she works. He doesn't even notice her presence. Accompanied by the routine that sees her days go by, the maid longs for the moment in which her luck will change.

Short film.

Two naked bodies. He wants to marry her, but she doesn't. She lies to him. She manipulates him. A camera spies on them in their intimacy. The one observing the scene is an executioner. Perhaps there are several executioners, or perhaps none. It may be that none of this is happening. They begin to suspect it. A circle between manipulation and performance.