Bonus Track and 180 grados (also present in this edition) are part of what Perrone calls a “new trilogy”, whose third leg is still in production. The films can be seen independently, although they certainly are linked in many ways. Almost fifteen years have passed since Labios de churrasco, but Perrone’s characters haven’t aged: they’re still teenagers, youngsters. What has changed is the environment and the cultural marks. The video store and soccer have become the PC and the skateboarding world, and the suburban rock of his first films is now a less defined music, more ambient. Also, Perrone’s style has muted: it’s no longer important what the characters say or do, what’s important are the noises they make when they talk, or the shadow of their movements. In Bonus Track the protagonists have a secret meeting point that works as a code of initiation: an old, abandoned movie theater turned into a skateboarding ramp where they practice their (not so good) jumps, indifferent to the nostalgic effect that the space will have in the audience of this film, and in the director himself.