A moral adventure: one sees friendships being born and being discarded, under the pressure of avowed authorities such as the family and the prejudices it states, or unavowed as the economy that no individual alone expresses.

A moral adventure: one sees friendships being born and being discarded, under the pressure of avowed authorities such as the family and the prejudices it states, or unavowed as the economy that no individual alone expresses.

Jean-Marc and Pamela attend the première of a film directed by one of their friends. They gradually lose control of things.

Jean-Marc and Pamela attend the première of a film directed by one of their friends. They gradually lose control of things.

Hortensia is a mature officer of the INEM office. She has been abandoned by her husband so she doesn't believe in love anymore. One day Eduardo Fernandez goes to the employment office because after overcoming a deep depression, he has decided that his life has to get better.

La que se avecina is a Spanish television comedy created by Alberto Caballero, Laura Caballero and Daniel Deorador. The TV-series focusing around the inhabitants of Mirador de Montepinar, a fictional building located on the outskirts of a big city. Both its storylines and cast are heavily based on Aquí no hay quien viva, which ended when Telecinco bought Miramón Mendi, the series production company.The episodes debuted on the Telecinco network, and were later rerun by the same network as well as cable/satellite channels FactoríaDeFicción and Paramount Comedy. The series debuted in 22 April 2007 and became popular thanks to its funny characters, witty script, use of catchphrases and capacity to integrate and poke fun at contemporary issues; the program presents a caustic satire of many of the 'types' found in Spanish society.The name of the show involves wordplay, as "vecina" is the Spanish word for neighbour.

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In a parallel Argentina, factories are production spaces for various artistic activities whose income is regulated by a state commission. Jorge, the manager of one of them, seeks to impose a post-dramatic work in the theater area to lower costs and increase profits. However, the claim generates a conflict not only with its workers, but also with the modes of representation.