Gustavo Portela

Two sisters marked by their mother’s murder years before find the murder weapon and the clues that lead her to the perpetrator.

Lila and Marcela have always worked on the cleaning staff of a state office. They know its nooks and crannies better than anyone, and have found a way to support themselves - and a dream - running a clandestine kitchen in an abandoned corner of the building. But times change: a new director arrives, spouting cynical speeches full of clichés with a fistful of empty promises. The kitchen is closed and a wave of redundancies disrupts the precarious equilibrium in the office, making everyday tasks a struggle for survival.

Does someone remember that project of López Rega’s which, in 1975, thought up the construction of a Great Homeland Altar where all mythical figures of Argentine history could be in the same building? From San Martín to Perón on his pinto horse. From the Billiken stamps of our childhood to Libertad Leblanc’s tits of our teenage years. All clichés of Argentine-ness gathered under one roof. But the construction delays. Workers entertain themselves with their own masturbatory drives. Or is it that Argentina is an impossibie construction? Always about to begin. always displaying great projects, great plans that never come to fruition. A second-rate country that hides its fundamental vacuity behind monuments. in Acha’s cinema, second-rateness is exposed, shown in all its lying pomposity.