Argentinean Film Critics Association Awards
Year Result Award Category/Recipient(s)
2003 Won Silver Condor Best Argentinean Video Film (Mejor Videofilm Argentino)
Mariano Llinás
This movie is a documentary about "balnearios". I don't know the exact translation to english, but they're tourism towns or little cities by the seacoast, or near some water fountain. The movie shows the singularity of these places and how people enjoy them.
The movie don't want to show big places but little ones. It's centered in margins, in little tourism places, almost without people living there. The life in these places is narrated in detail, with an external yet friendly look. It's divided in 4 episodes.
After a melancholic introduction that relates how the 'balnearios' that born in a different time, compulsorily (and not gracefully) had to adapt to the pass of time, the first episodes begins, telling a mystic crime story in an old hotel, leaving me thinking if every little town has its epic tragedy, its own legend. The second episode is the heart of the movie, and its about the contrast between the season and the out-of-season, the unexplainable customs of the tourists, about the people at the 'balnearios' in general. It is narrated very gracefully. The people laughed a lot in the cinema.
The third episode is the shorter and the worst, IMO. Tell the story of Miramar, a town on the seacoast that is half flooded, the streets finishing under the sea. The fourth episode is about 'balnearios' on river coasts, little lagoons, or dikes, and it's centered in Zucco, an amateur painter(His personality remains me to Ed Wood) that paint the 'balneario' where he lives. He has written down and stored every dream he had. He talks with Neptune. The episode tells a 'balneario'-related dream he had once, his thoughts, and show some of his work. This episode is maybe too long, but funny. And it shows the spirit of these different 'balnearios', too.

After his bike and money gets stolen from him, Lucio struggles to find his place in the surrounding reality of Argentina in the 1990s A slowly told story of adolescence of an outcast and a tribute to the neorealistic classics of the 1950s.

A woman vanishes. Two men take to the road in search of her: they both love her. Why did she leave? Each one of them has his own suspicions, and hides them from the other one who—mysteriously—never truly becomes his rival. Neither is right—but is anyone? This sudden runaway becomes the hidden core of a number of fictions that the film delicately weaves together: the secret of the heart of another woman, lost as well, many years ago; the secret of the life of a village in the countryside, governed by a supernatural incident that nobody seems to perceive; the secret of the plains, which never ceases to spread and devour everything, like the shadows that invade the world after the twilight hour.

一个女人消失了，她的男朋友一直在找他。为此，他去了她工作的地方，以及很多数不清的地方。他能找到她吗?

六个段落，四位女主角共同演出B级僵尸Cult片，以音乐人为主角的通俗剧、谍报动作、科幻恐怖、甚至默片等难以归类的片型，够通俗易懂，也够唯美浪漫，成为阿根廷影史上最长的电影。导演马里亚诺·利纳斯怀抱疯狂野心，耗费十七年，以十四小时颂扬对电影的热爱与对女性的讴歌。坚持的惊人 片长阐述电影永不结束，随著不同年代的拍摄器材与手法，也标志了四名女演员在现实与虚幻中流逝的时光。女人花们生长绽放，所有的故事都不要结局，在情绪最顶点骤停，吊人胃口到超出极限，却又让悬念回荡在你的大脑，而不得不以观影当下为基础，重新思考当代电影“说故事”的形式与本质。

影片改编自[谜一样的双眼]原著作者爱德华多·萨切里撰写的小说《植物之夜》，讲述一群小镇邻居在前足球运动员费尔明(里卡多饰)的领导下，向阴暗的律师和腐败的银行高管追讨他们被骗走的钱财。

塔玛拉是一位前卫的女权主义哲学家，她曾以为彻底告别了过去，如今却有了新的发现。