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。

Leonardo, a successful industrial designer, lives with his family in an architectural wonder, a midcentury Le Corbusier home. One morning, he wakes to an irksome noise and is appalled to discover that workmen next door are constructing a large window that faces directly into his home. Leonardo protests, using a number of excuses (privacy, building codes, his wife), in an attempt to coerce his neighbor, Victor, into scrapping his plan. But Victor just wants a patch of sun to catch some rays. Thus, one man’s light is another man’s blight.
Enamored of architecture, the film is meticulously designed. Mariano Cohn and Gastón Duprat give it a carefully crafted weirdness as well as a figurative quality. Its caustic humor comes in contemplating why the window completely undermines Leonardo. Does it reveal his arrogance, affectation, and lack of compassion; or dispel his bourgeois illusion of power? The Man Next Door offers a biting critique of moral shallowness—and what happens when thou dost not love thy neighbor’s window.

Tellez is a strict and prestigious film critic, totally weary of Hollywood romantic comedies and certain that the best of the seventh art died long time ago. Maybe because of its work, suffers from what he calls the 'maladie du cinema': He sees the world like if it was a big movie that, in addition, he cannot keep from criticizing. While searching for his new apartment, he unexpectedly meets Sofia, a young and attractive woman that has very little to do with his good taste. 'Elemental, constructed on a basis of cliches' he would describe her. Movements of random bring them together over and over again, in strangely idyllic situations. Tellez attempts to escape from a staging that he loathes, but suspects that the movie genre that he hates the most is taking its revenge.

一對感情穩定的40多歲男同志情侶想收養小孩，但兩人卻發現這條收養之路處處是阻礙，讓兩人無法通往幸福快樂的結局…至少無法通往原先計畫中的快樂結局。

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.

劳拉离奇失踪了，她的男友拉斐尔和同事埃兹奎尔开始苦苦寻找。他们去了她工作的地方，以及很多数不清的地方。最新的发现有助于他们找到劳拉，然而她的失踪比他们想象的更加古怪复杂。

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。

2012 film