Featuring a big formal display, Bárbara Sarasola Day’s first feature-length film (her short El Canal competed in Bafici ‘05) presents Helena and Ernesto, a long-time couple that is apparently starting to wear down. In their country-side home, they welcome Helena’s cousin Joaquín, who she hadn’t seen in years, and has recently got out of rehab. Joaquín’s presence is immediately perceived as a destabilizing element, and this translates into a very well-crafted atmosphere of mystery that subtly floats over and runs through the scenes. The young man seems to arouse fantasies, and the fresh rural air starts to feel heavier, until finally the most unexpected desires surface. The writer and director’s intelligence lies on the fact that it presents us the idea of a triangle and brings us to imagine it together with the characters, only to surprise us later: that which seemed evident is actually not, and it’s precisely in that point where the film suggests a reflection on desire and its mishaps, and everything we’ve seen so far gains a new meaning.