By Natalia LABAKÉ


First film - Post-Production 2019

In a family branded by the nostalgia of a past time, the Argentina from the 90s, three generation of women build a story marked by tensions and silences that fluctuate between the political and the domestic.

& Awards

FIDBA 2018
Wip Premio Cinetranslation para subtitulado al inglés Premio participación en Festival de Málaga WIP
Mafiz 2019
Wip Premio Málaga go to Cannes
Guadalajara FICG 2019
Doculab Premio Doculab Cinematic Media para postproducción de color en México Premio para la composición del core musical
    • Year of production
    • 2019
    • Genres
    • First film, Family, Documentary
    • Countries
    • Languages
    • Budget
    • 0.3 - 0.6 M$
    • Duration
    • 90 mn
    • Director(s)
    • Natalia LABAKÉ
    • Synopsis
    • Agustina (27) and Bibiana (63) are niece and aunt. Each of them experienced a trauma. Agustina was sexually abused at age 17. Bibiana was misdiagnosed by psychiatrists and overmedicated all her life. They are part of a large family led by Juan Labaké (80), father of Bibiana and paternal grandfather of Agustina. Juan is a lawyer and a right Peronist politician who, after a wandering career during Menem’s presidency, sought to remain in politics by legally defending Isabel Martínez de Perón and Zulema Yoma, both ex-president wifes. In the family men lead the talk and set what can be said. In his words, women share the life “in silence”.
      Agustina is going through a depression that keeps her in bed. She lives with her parents (Virginia and Jorge). Bibiana lives in a rehabilitation institute on the outskirts of Buenos Aires. Her family visits her there and “takes her out” (as if she was a little girl) to spend weekends at the house of her relatives. Agustina and Bibiana perform esoteric actions to connect with the trauma in which they are immersed. Agustina sees Bibiana as a future mirror, as if she too is going to be a relegated member in this patriarchal family. But at the same time, she seeks to help her, as a way of healing herself and putting an end to the “family karma”. Natalia, Agustina's older sister and director of the film, accompanies them in their awakening of the sleeping life.
      In the film, the past breaks through videos filmed by Haydée, responsible for recording the public career of Juan, her husband. The footage takes us to the beginning of the nineties and the luxury of Menem’s presidency, a time when women play a secondary role or were mere companions of male politicians. Bibiana and Agustina appear in the videos as witnesses of a reality that excludes them.