This Spanish-language thriller and drama, directed by Santiago Esteves, follows two estranged brothers entangled in the dangerous business of helping people fake their own deaths. A complex operation puts their lives at stake and forces them to define the destiny of their family's legacy.

A former boxer and a prostitute try to escape from a criminal organization. Unscrupulous boxing promoters, corrupt cops, violent drug dealers, and incompetent amateur robbers fight over money and survival as they all track down a winning lottery ticket.

Life begins, life ends. A title so elliptic that it is reduced to a law of nature, stripping family misfortune of its tragic nature. Death is a private tragedy. How can you capture the horror of its irrationality? Rafael Palacio Illingworth is the director of several comedy dramas including Between Us (2016) and Macho (2009). Here, he signs a feature film that is at once intimate, honest and generous, based on the tragedy that shook his own life. By weaving personal material, gathered over time, into a fictional narrative, he goes beyond a purely autobiographical framework, constantly playing with its codes. Rafael Palacio Illingworth forges an alter ego, a doppelgänger and a family reflection. The images of radiant, everyday happiness are matched by a fragmented narrative that condenses a descent into hell, revealing pain. Fiction plays a role: that of preserving these images of this happiness. He thus ensures the memories remain intact, instilling them with a sense of grace. The dramatization of his play replaces the muted brutality of real life. Here, the director’s body must withstand. In the face of illness. Against despair. There, his character’s body, a gaucho from the plains of Argentina, self-inflicts the henceforth unbearable violence of a world and consecrates the fictional space as a catharsis. Intertwining different regimes in three movements, Rafael Palacio Illingworth courageously exposes himself on several levels. The duplication becomes a dialogue. He stages his own family to better reveal the contours of drama as a genre, through a system of dialogue between fiction and the mechanisms of its production: sources of inspiration, musical score, characters and motifs, peaks and climaxes… It is not the evidence of a tragedy that is thus revealed, but the vibrant meeting of art and life. (Claire Lasolle)

远在南美巴塔哥尼亚，无涯草原和连绵高山，是马匹羊群的牧场，也是牧场工头伊云斯的家。以马羊为伴，千篇一律的工作年复年，马羊山岭是日常，不同的只有每逢夏天到来的工人们的面孔。伊云斯大半生都在与世隔绝的牧场渡过，然而年届七十不得不交棒。新来的小伙子夏拿从遥远的北方而来，跟马羊相对还是第一次。寒冬将至，角色互换然而境况相似—两人必须适应各自的新环境奋力生存。 此心安处是吾家，在白茫茫的雪地之中，一个意欲离开，一个拼命留下来。