A long night's journey into day: Victor, a street hustler in the Santa Fe and Pueyrredón neighborhoods of Buenos Aires, from the evening of November 1, All Saints Day, to the dawn of November 2, All Souls Day. Victor's odyssey takes him from clients to friends to a gay gym then a hotel room and an all-night café. He plays pick-up soccer with kids whose parents are going through trash or waiting in parks. A vendor gives him a chrysanthemum. It seems he's being followed, and on the night streets, death is close at hand. Can Victor survive until dawn?
Cinematography
Buenos Aires at night shot like a purgatory you can smell.
Acting
Heredia's face holds entire economies of exhaustion and defiance.
Direction
Cozarinsky treats street hustling as spiritual pilgrimage, not exploitation.
Director
Edgardo Cozarinsky
Trivia, insights & behind the scenes
All Souls' Day in Argentina carries genuine mortal weight—families visit cemeteries, death walks among the living. Cozarinsky weaponizes this cultural specificity against Victor's secular desperation.
Cozarinsky, an Argentine Jew who fled to Paris during dictatorship, films Buenos Aires as exile—every street simultaneously home and foreign. The gym scene's cruising choreography mirrors police surveillance: bodies watched, catalogued, disposable.
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