There are a lot of hints right at the opening sequence of Carlos Sorin's last film about what is at the core of the story. We are taken to a room where a judge is hearing arguments in favor of releasing a patient now in a psychiatric unit. The consensus is that Luis, a university professor, having been put away because the way he attacked a colleague, presents no threat to society. All agree about giving the man a chance.
As Luis steps out of the institution, accompanied by his wife, Beatriz, judging by the look on his face, one wonders if his stay in the clinic had any positive effect on the patient. One thing Luis wants to check is on Donatello, the black cat that is a family pet. Luis is shocked by the reaction of the feline, when he scratches his face. It is obvious the cat does not welcome Luis' presence in the house.
Beatriz, an attractive woman, surprises Luis by telling him she has rearranged his books into three different sections. Luis is not at all convinced the arrangement meets his standard. What was to be a pleasant return to normalcy suddenly begins not to have the effect it should have. Beatriz is not happy when she wakes up one night to find Luis rearranging, again, his books.
To add to Beatriz's worries, Donatello has disappeared. The fliers she has left all over the neighborhood do not help in finding him. Beatriz notices how restless her husband is; he is not even sleeping well. When Luis suggests to go on a trip to Brazil, she jumps at the opportunity by going to a travel agency to book the vacation.
Beatriz decides to call Fourcade, the professor that suffered her husband's aggression. Fourcade wants to make peace, so she suggests him to call on her husband. Fourcade is interrupted during the conversation by his cell phone that has a peculiar ring tone. As Beatriz and Luis are going to the airport, to begin their vacation, Angela, the maid, finds Donatello, who shows up as though he never left. The maid, putting away things in a deep freezer, is surprised by a puzzling discovery.
Carlos Sorin wrote and directed the film. He brings the action to Buenos Aires instead of setting the story in the South, as most of his previous films were. To the director's credit, his simple narrative hides a much deep drama, which is not exactly clear to the viewer, at simple view. Mr. Sorin gives his audience hints along the way, but nothing too obvious until one gets hit in the head with what really was happening in front of one's nose all the time. Carlos Sorin is not a prolific man, but he can always be counted to draw us into a rarefied world not easily detected because he demands one's full attention.
The film has a perfect casting in the key roles. Luis Luque, one of the most versatile character actors from Argentina, is seen as Luis, the man at the center of the story. In fact, Beatriz Spelzini is a joy to watch as the concerned wife that loves a man that might not be ready to join the world again. The excellent Norma Argentina is seen as Angela, although she has little to do. Hugo Sigman, Javier Niklison, and Maria Abadi are seen in supporting roles.
Nicolas Sorin, the son of the director, was responsible for the film score that works well with the narrative. Cinematographer Julian Apezteguia, does a wonderful job for Mr. Sorin enhancing with his images a film that was basically shot inside a house. One can only hope Carlos Sorin would come out soon again to share his vision with us.
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