Rubén has little to no private life as well: his sister is a wreck, her daughter, spoiled; he visits prostitutes in his spare time and is unappreciated by those who surround him at work.

Eventually, Rubén snaps: tired of his boss' infidelity to his wife, his downright hypocrisy and disdainful manner towards him, he frequents an illegal arms dealer, purchasing a gun with a silencer.

When his boss suffers a heart attack, Rubén is left to take care of him, and soon he shoots Artemio offhand - the one person who is supposed to protect him from a threat that remains invisible in the film.

Diego Lerer, film critic for Argentina's daily Clarín, lauded Moreno's innovative directorial effort and wrote, "The movie is a triumph of mise-en-scene.

Each shot has a reason to exist since Ruben's point-of-view is always respected, and the images and sounds we perceive reveal more about his inner life than any conversation or explanation...[the] great thing about Moreno...is that the so-called Argentine new wave is still able to produce films that are thought to be provoking, different and challenging.

Cinematographer Barbara Alvarez uses the sterility of fixed frame shots and desaturated colors as correlates to the protag's compulsively rule-driven life.