Just like in 1985, today Ignacio Agüero is back interrupting filmmakers during shooting, but not to ask what he did thirty years ago, but to find out what is purely cinematographic in what they film. These conversations are related to images in the director's personal archive, as if what is truly cinematographic was found among bits that were never made for the screen.
Documentary about the Chilean poet and Nobel Prize, Gabriela Mistral, and her relationship with the American Doris Dana. Gabriela meets Doris when she thinks she cannot overcome the biggest tragedy of her life: the suicide of her only son. Doris, realizing that her partner will be gone soon, records the conversations with her in their Long Island house. These recordings will be the access to the affective universe of a woman who lives in permanent tension with her inner demons and whose sensitivity and ambition make her the protagonist of her time.
The house of the director has a door out to the sidewalk. This gate separates the inside from the outside. The interior contains the filmmaker's personal story and his world of objects, thoughts and imaginations. Outer space contains the city of Santiago de Chile. The stories of the world inside the house are interrupted when the doorbell rings unknown and thus come into the film.
