Nicolás Aráoz

Perhaps what has already been lived is more important than what’s yet to be lived, Antonio thinks as he burns his father's belongings. Ships and Cathedrals tells of his encounter with Emilia and how he manages to break out of the inertia of his life.

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The opening chords of the Organ Grinder theme open the scene to the waters running down a rushing river while, in its center, a young woman throws the line into the water, tenses it slightly and waits. As if looking for a new order, the organ grinder "with his bare feet on the snow" accompanies this murmur of waters, of opening skies, of fish stopped in the simplicity of dreams.

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Sergio and his family work in an estate in Argentina’s northern region. When their employers aren't home, they occupy the main house and emulate the life of the owners. Then Pia, the eldest daughter of the owner, arrives at the estate with the intention of staying a few days until her father’s marriage...

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In a remote valley in northern Argentina, the local herb of love, Muña Muña, is in bloom. Olga, a 60-year-old nurse, is preparing to say goodbye to her only son, who is about to leave the country, when she meets Stefano, a young French tourist. Their unexpected connection stirs a desire she thought was long lost.

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Perhaps what has already been lived is more important than what’s yet to be lived, Antonio thinks as he burns his father's belongings. Ships and Cathedrals tells of his encounter with Emilia and how he manages to break out of the inertia of his life.

Open details →