Argentina, 1976. Claudio Morán (Darío Grandinetti) is a successful and respected lawyer in an Argentinian town who suffers an incident with another client in the restaurant while he waits for his wife Susana (Andrea Frigerio) for dinner. Mocking him about the stranger's bad manners and poor education, Claudio's words make that the stranger suddenly explodes in rage against everybody, being forced by the staff to leave the local just when Susana arrives.

When they two are in the car to back home, the stranger appears again hitting the car and running away. Leaving the car behind the stranger to stop him, this one intercepts Claudio and they fight. Trying to calm him, Claudio watches as the stranger hits himself and points a gun at Claudio and Susana, but instead of killing them, the stranger shoots himself in the face. Seriously injured, Claudio puts the stranger in the car and leaves Susana at home saying her that he will moves the stranger to the hospital, but Claudio leaves him in the desert to die.

Three months later, Claudio's life remains the same, with Susana and their teenage daughter Paula, being visited by Susana's best friend Mabel, her husband Vivas, and their child. In the days before the General Videla coup d'etat that will change the country forever, with the military intervention above the horizon, violence unleashed everywhere and people going missing every day, things complicate for Claudio when Mabel suffers a nervous breakdown during an art expo. Worried about her, Vivas reports to Claudio about Mabel's stranded younger brother Dieguito, who years ago joined revolutionary movements to fight against government repression, and had gone missing three months ago when traveling to meet Mabel.

Realizing that the stranger was Mabel's brother, Claudio starts to feel cornered when Vivas tells him that he and Mabel have called the famous Chilean detective Sinclair to find Dieguito if he's alive...or to his assassin if he's dead.

"This subtly disturbing, queasily tense satirical nightmare from 33-year-old Argentinian filmmaker Benjamín Naishtat answers that question with a story of group neurosis and complicit wretchedness. He shows that, for those left behind, what also gradually disappeared was their peace of mind, their self-respect and their ability to communicate what was happening or how they felt: an uncanny, insidious erosion of self." — Peter Bradshaw, The Guardian

Buma Music in Motion - Best Original Composition in Film; Argentinean Film Critics Association Awards - Silver Condor - Best Director, Best Supporting Actor,  Best Actor; Guadalajara International Film Festival - Best Actor; International Cinephile Society Awards - Best Picture Not Released in 2018; Academy of Motion Picture Arts and Sciences of Argentina - Best Director, Best Editing, Best Screenplay, Best Film, Best Actor,  Best Sound; San Sebastián International Film Festival - Jury Prize Best Cinematography, Silver Seashell for Best Director, Best Actor; Toronto International Film Festival; Rotterdam International Film Festival; Guadalajara International Film Festival; Istanbul International Film Festival