During a business trip to Geneva, Lina's impulsive decision leads to perilous consequences. Back in Buenos Aires, she tries to bury her secret, but the dark past she left behind resurfaces to threaten her current life.
During a business trip to Geneva, Lina's impulsive decision leads to perilous consequences. Back in Buenos Aires, she tries to bury her secret, but the dark past she left behind resurfaces to threaten her current life.
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Fun Facts
The opening is an 8-minute, virtually dialogue-free sequence. Lina accepts a fashion award in Switzerland, dumps the statuette in a restroom trash can, wanders the grey Geneva streets, and hurls herself off a bridge into a river — all without speaking a single word. The film doesn't show her rescue; we simply see her walk into her hotel lobby wrapped in a Mylar emergency blanket.
It was shot as a Swiss-Argentine co-production between two indie banners. The film is a collaboration between Alina Film (Switzerland) and Ruda Cine (Argentina), with the Geneva sequences providing a stark visual counterpoint to the Buenos Aires domestic drama that follows.
The cinematography deliberately channels Hitchcock's Vertigo. Director of photography Gabriel Sandru crafted shots that critics noted directly reference Robert Burks' famous photography for Hitchcock — using electric blues, verdant greens, and deep crimsons to externalize Lina's psychological fracture. The film even shares Vertigo's motif of a woman falling into water and losing her grip on reality.
There's a surreal lighthouse inexplicably perched atop an apartment building. In one of the film's most striking sequences, Lina and her daughter climb to a lighthouse that sits on the roof of their Buenos Aires apartment building. From there, a searchlight casts golden beams down onto the city, revealing glimpses of minor characters' private routines — a moment critics compared to the visual poetry of early F.W. Murnau and King Vidor.