一群女演员在表演莎士比亚的《第十二夜》时陷入网络浪漫的阴谋和启示。

入围第66届柏林电影节酷儿单元，获第64届圣塞巴斯蒂安国际电影节(2016)地平线大奖 。小女孩rara生活在一个LGBT家庭，她同时拥有两个母亲，只有13岁的她一直感觉很幸福，直到亲生父亲的试图得到她的抚养权，事情开始发生了变化。

女巫Sycorax。她既是主人翁Prospero的僕人Caliban的母親，也曾經施術將精靈Ariel困在樹中，這個據傳在Prospero放逐來此前便已死去的人物，在劇本中被提起過但不曾現身，《Sycorax》由這點出發，開始假設並遙想起這原本被當作背景的人物的真實面貌，將缺席的女性，視為島上其神秘的陰性力量的來源。

Mariel wants to play Isabella in Shakespeare’s “Measure for Measure”. With the support of Luciana, who is also an actress, she has already rehearsed the part. But during the audition, Mariel realises that Luciana is trying out for the same role.

片名和灵感都取自莎士比亚的《仲夏夜之梦》。阿根廷导演马蒂亚斯·皮涅罗新作品，曾入围2016年洛迦诺电影节主竞赛单元，主要讲述一个阿根廷姑娘要把莎士比亚的戏剧翻译成西班牙语的故事。@

Taking a breather from the crisis of her marriage, a surgeon named Celina visits the country house of an old friend who she hasn't seen since their university days. When she gets there, she realizes that something is going on with Paula, her friend's step daughter, whose absence is palpable. Celina finds herself aggressively questioned by Paula's friends - the mystical Nene and the cynical María - who then recruit her into their dysfunctional clan. Shortly, she learns that Paula attempted suicide, but Celina is in no shape to help anyone, because she is fleeing a dark secret of her own and has come to the worst place of all possible places to save herself. In the limbo of this hellish little town, her ghosts are reborn, infecting everyone around her. They bring her through porous nightmares, dangerous games and an overwhelming uncertainty about the limits between dreams and waking, between life and death. In this psychological thriller, what seems like a getaway becomes a reencounter ...

改编自切萨雷·帕韦塞1947年出版的《与勒乌科的对话》中的章节《海之泡沫》。古希腊诗人萨福与仙女布里托马蒂斯在海边相遇，展开了一场关于爱与死亡的对话。据说，萨福因相思之苦而投海自尽，而布里托马蒂斯则是在逃避一名男子时从悬崖跌入海中。两人共同探讨围绕她们的故事与形象，试图在片刻间理解欲望那既甜美又苦涩的本质。

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。