Sebastian (Hendler) meets Natalia (Bertuccelli) when trying to steal an important piece of art from a museum, and she wins the hand. Rivals declared, the two have to work together later in a robbery more complex: a valuable and unique bottle of Malbec from Bordeaux in the mid-nineteenth century, listed as one of the best wines in the world and jealously guarded in the vault of a bank, in Mendoza. In a world full of glamor, between vineyards and mountains, the thieves will have to display their magic, but while preparing discover theft, each to his own, that nothing will be as thought

Gabriel has been separated for four years now. Since then his 8 year old daughter is the center of his life. Completely avoiding getting involved in a new romantic relationship, Gabriel focus all his energy in his daughter and work. This plan gets spoiled when Vicky, a platonic love from his adolescence, now a beautiful and independent woman appears in his life. When romance is about to start, she puts one condition: She would never get involved with a man with children. She just does not want children in her life. When Gabriel is confronted with this, he says he has no children. From that moment on his life becomes a torment, playing every trick at hand in order to hide his child and belongings from Vicky in every date. Written by Metrextik

Deborah makes a living by drawing the skin of her clients. One night, her housemate invites her boyfriend and friend to their house. Sitting in the armchair, they consume the series of the moment, Gain of Clones, until, suddenly, the signal is cut off and the screen is dyed red while subliminal images float. No one remembers what happened the last two minutes. The answer will be in the enigmatic presence of giant cats that will later invade the city. As in El sol (2010), the second feature of the animator Ayar Blasco outlines apocalyptic situations where chaos and paranoia is the best excuse to meet surrealist creatures and scenes. Blasco understands that animation is a language with resources that live action does not possess, and exploits those tools as a child who became an adult just to give himself permission to play forever.