Marcos works at a candy factory; Martín is a TV writer. They went to school together and were great friends, but they haven’t seen each other for years. Marcos gets a theater to open a one-man-show he wrote in high school, and asks his old friend to help him rewrite it. In his third film, Ezequiel Acuña takes up again the characters that were the protagonists of his short film Rocío, played by the same actors. In a Buenos Aires of neighborhoods, in black and white with a light that turns every shot both dirty and soft, the film goes from comedy to melancholy drama and then back again, passing from one state to another with that same subtle lightness that characterizes Acuña’s cinema. A story that seems minimal and obsessive in the insistent intimacy with which it portrays a relationship in permanent tension, but whose use of the music and its rigorous visual poetics turn it into an almost unique exponent of emotional concentration. Acuña reveals that his own personal universe is continuously expanding.