An artist is interviewed about her photos.

Twenty-something Ana, now living in Buenos Aires, returns to her native city of Paraná. She meets old school mates, old friends, makes new ones, and starts to rethink her life, and perhaps change her future.

Ana was raised to be stunning and famous until she comes to terms with how superficial this is. This is the late-coming of age of a woman who is no longer scared of getting lost to find herself.

Marcos has never had a girlfriend. Mattias has been with the same girl for way too long. That's the upbeat of Swedish-Chilean director Manuel Conchas first feature, where two child hood best friends are about to meet the reality of adulthood. Or as Marcos father likes to put it: Grow some hair on their balls!

A little girl, Ana, reads herself to sleep. As she dozes off, the physical world starts melting into an alternate reality where the contents of a book rule over the laws of physics. Now, she has to escape being swallowed by the overwhelming accumulation of printed knowledge and find her own space in a world where nothing is what it seems.

Spring 2020. The coronavirus pandemic has broken out. Theaters have stopped working. Rehearsals of plays have been suspended. Silence, emptiness, ominous silence. Nevertheless, director Ana receives an offer to dramatize and direct “The Goalkeeper's Fear of Penalties”, a masterpiece by Peter Handke. It is a great challenge and a chance to jumpstart her stalled career. The problem is that the creative process emotionally inhibits her and blocks her sexuality, but with the persuasion of her best friend Sanja – Ana nevertheless embarks on the creative process. The director is faced with typical theatrical folklore.

Ana, a nine year old girl, arrives with her mother to an isolated beach with the intention to rest and to know the sea. There, she discovers that they are under a terrible threat, therefore she is obligated to look for help with her father in order to save her mother.

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