Plot summary

Intimate portrait of Marcos López, unique and unclassifiable figure, film director, plastic artist and one of the main references in contemporary Latin American photography. With this film, Rosell completes an involuntary trilogy on fatherhood that began with Bonanza and The Ethnographer. The plastic and photographic work of Marcos López -that everyday life captured in that instant where Buñuel, Douglas Sirk and that deity called "chance" toast with plastic cups in the same group- is converted into radioactive rays by Ulises Rosell. Here Marcos López's day-to-day life allows us to capture, without romanticism but with sniper attention, the way in which everyday trades (there are dentists, veterinarians, acupuncturists) unfold in front of his gaze, his sensitivity and, of course, that calamity we call everyday. Never has a portrait of an Argentine artist demonstrated with such power his nuclear and integrating vision and the importance of all the satellites that surround him.

Intimate portrait of Marcos López, unique and unclassifiable figure, film director, plastic artist and one of the main references in contemporary Latin American photography. With this film, Rosell completes an involuntary trilogy on fatherhood that began with Bonanza and The Ethnographer. The plastic and photographic work of Marcos López -that everyday life captured in that instant where Buñuel, Douglas Sirk and that deity called "chance" toast with plastic cups in the same group- is converted into radioactive rays by Ulises Rosell. Here Marcos López's day-to-day life allows us to capture, without romanticism but with sniper attention, the way in which everyday trades (there are dentists, veterinarians, acupuncturists) unfold in front of his gaze, his sensitivity and, of course, that calamity we call everyday. Never has a portrait of an Argentine artist demonstrated with such power his nuclear and integrating vision and the importance of all the satellites that surround him.

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