Liliana Biamonte

A young and dedicated nurse is trying to avoid the pain left by her dear cousin's suicide.

Nina and Laura are a couple whose four year-old son Mateo has just died. Laura moves back to Chile seeking the comfort of her family while Nina, intending to reunite with her shortly, is left to tie up loose ends at home: storing Mateo's things and renting out their house. 'What a big space such a little body can fill, what a massive abyss there is now between your mom and me'.

Luisa and Antonio surrender to the game of keeping tricks up their sleeves, of disagreements and reconciliations. Luisa follows with curiosity the thread of the words while Antonio imagines a movie inhabited by Elsa and Miguel: some fictional characters blurred in the middle of a deep sentimental crisis; a he and a she confused and lost in the rainy labyrinth that sometimes we call love.

Thoughtfully, lovingly, Aurora tells the story of an unwanted pregnancy. Alongside her work as an architect, 40-year-old Luisa gives inspirational creative workshops to children. One day, she comes across 17-year-old Julia by the school toilets; it turns out she has unintentionally become pregnant. Luisa decides to help her – in the process manoeuvring herself into a difficult position somewhere between friend, teacher and mother figure. Or does she secretly enjoy playing this role?

María José is 25. Her life moves back and forth between the monotony of class at the university, her eternally distant parents, and a couple of alternative spaces where she can explore her own and others’ limits. One day, she meets Javier, a boy she really likes and tries to have a relationship with, but her behaviour starts changing radically. In fact, she’s a few months into her pregnancy and no one knows.

Irene is a single mother who works in a photocopying business. She lives with Santiago, her seven year old son, and her controlling mother Dinia. Then she meets Diego. They go out, she gets drunk, and the failed date triggers in Irene a crisis concerning her sexuality, her motherhood, and the relationship with her mother.

When Ana investigates the attack in which her father died forty years ago, the mysterious recognition of a possible witness takes her on a journey to the place where the events occurred. In that border place, Ana sees in that enigmatic man something more than a witness.

Repression and taboos have shaped the image of womanhood for Ana (68), Patricia (69) and Mayela (71). Their stories poetically combine to form a kaleidoscope of memories, secrets and longings that are incarnated by another woman’s body.