Parece la pierna de una muñeca

At a late afternoon, the camera holds a single scene without cuts. The focus is a group of students finishing a swimming lesson, freely moving through the pool area, changing rooms, and hallways as they please. The film refuses a conventional plot while inviting attention to bodies, noises, and gestures that would normally seem trivial. By letting the scene unfold in one unbroken take, it privileges presence and atmosphere over exposition. The lack of dialogue and the restraint in editing encourage viewers to read relationships and power dynamics from what the characters do and how they inhabit the space. The result feels intimate, patient, and open to multiple readings. The camera never presumes intent, letting silence speak for the moment.

Directed by Jazmín López, this 2007 Argentine feature showcases a restrained, observational style that signals López as a distinctive voice. The film relies on long takes and subtle performances rather than overt plot, inviting attention to the details of youth.

Box office data for this title is not widely reported, reflecting its status as an art house release. It circulated primarily through film festivals and regional cinemas, with limited engagement in mainstream commercial markets and occasional repertory screenings in venues.

No major awards are listed for this title in mainstream outlets, underscoring its niche appeal. Critics who did acknowledge López's work highlighted the film's austere precision, its refusal of sentimentality, and the way the camera makes ordinary moments feel decisive. Some festival observers noted the daring formal choices, and discussions.

Reception to the film emphasizes its formal stubbornness and the way duration shapes perception. Viewers are invited to interpret simmering tensions among youth, shots that linger, and the texture of space itself, which can read as memory, desire, or social constraint. The result is unsettled and thoughtful about what remains.