Argentino Vargas, a nonprofessional actor protagonist of Los Muertos (another Lisandro Alonso movie) arrives in the Teatro San Martin (a theater complex in the center of Buenos Aires). A poster in the lobby informs us that Los Muertos will be shown that day in one of the movie theaters in the complex. Vargas is obviously early, and makes time by visiting various parts of the almost deserted building, in the process attracting the discreet attention of a security guard, who shadows him at times.
The movie is shown. The public consists of Vargas, a woman that works in one of the offices in the theater and (for a while) the security guard. At the end of the projection the woman congratulates Vargas, who thanks her politely. Vargas leaves the theater.
In a parallel plot, another nonprofessional actor, Misael Saavedra (protagonist of La Libertad, another Alonso movie) is seen wandering in another part the theater complex (he an Vargas never meet, neither does he attend the projection of Los Muertos). Saavedra finds a deserted paint workshop; he opens a refrigerator there and finds sandwiches and champagne (a small Christmas tree points to the holiday season). He consumes the food and drink and watches television.
As in other Alonso films, much is implied and left to the viewer. This movie is in fact a comedy. The wordless interchanges between Vargas and the security guard consist of oblique looks and are extremely funny (Vargas is not dressed as the sophisticated patrons of the Teatro San Martin and thus attracts attention automatically). The theater shows only movies of artistic interest, usually with a film critic or a member of the crew giving a talk and fielding questions from the audience; not only the critic is missing here but the audience itself. Vargas, the epitome of cool, doesn't seem to be very interested in his own movie; he appears to be fulfilling an agreement. Saavedra's presence is not explained (was he invited to the projection?) and the nonchalance with which he makes himself at home in the paint workshop is funny also. Last but not least, the labyrinthine corridors and basements of the Theater San Martin, dimly lit and deserted, are fascinating by themselves.
The movie is shown. The public consists of Vargas, a woman that works in one of the offices in the theater and (for a while) the security guard. At the end of the projection the woman congratulates Vargas, who thanks her politely. Vargas leaves the theater.
In a parallel plot, another nonprofessional actor, Misael Saavedra (protagonist of La Libertad, another Alonso movie) is seen wandering in another part the theater complex (he an Vargas never meet, neither does he attend the projection of Los Muertos). Saavedra finds a deserted paint workshop; he opens a refrigerator there and finds sandwiches and champagne (a small Christmas tree points to the holiday season). He consumes the food and drink and watches television.
As in other Alonso films, much is implied and left to the viewer. This movie is in fact a comedy. The wordless interchanges between Vargas and the security guard consist of oblique looks and are extremely funny (Vargas is not dressed as the sophisticated patrons of the Teatro San Martin and thus attracts attention automatically). The theater shows only movies of artistic interest, usually with a film critic or a member of the crew giving a talk and fielding questions from the audience; not only the critic is missing here but the audience itself. Vargas, the epitome of cool, doesn't seem to be very interested in his own movie; he appears to be fulfilling an agreement. Saavedra's presence is not explained (was he invited to the projection?) and the nonchalance with which he makes himself at home in the paint workshop is funny also. Last but not least, the labyrinthine corridors and basements of the Theater San Martin, dimly lit and deserted, are fascinating by themselves.