Cristina Llancaleo (Viviana Herrera), a young nurse from the countryside with big eyes and even bigger headphones, walks the streets of Santiago like a silver ball in a pinball machine, shooting from one person's life to another's. When she is not reading National Geographic articles to her elderly Hungarian patient Milos (Francisco Copello) or flirting with a gardener in the park, she is following Tristán Greenberg (Andrés Ulloa), a 33-year-old architect whose wallet she finds after he is mugged. Tristán, who is temporarily unemployed while the construction workers on his project are on strike, has been dumped by his too-perfect girlfriend Irene (Aline Kuppenheim), who it turns out is also worth following. With nowhere to go, he returns to the suburban home where he grew up, but his glamorous mother Laura (Coca Guazzini) is living with a sleazy magician and is soon throwing a pool party straight out of The Graduate. In writer director Alicia Scherson's offbeat and stylish first feature, old Santiago indigenous rubs against new European in an international melting pot of riotous color art directed within an inch of its life by Sebastian Muñoz and shot in crisp HD by
cinematographer Ricardo de Angelis (Man Facing Southeast). Scherson punctuates her script with playfully arch dialogue in which her characters quote Pliny, argue over parts of speech, and confess dreams as inconsequential as their lives. Because for Cristina, who continues her stoop-shouldered, flat-footed trudge through the city, lighting yet another cigarette as if it were her first, the game is never over.