Nicolás Pereda’s deft chamber comedy begins with a gloriously hypnotic traffic jam in the heart of Mexico City. After this disorienting prologue, we drift into the cozy home of Teresa (Teresita Sánchez), an accomplished classical composer. Her modest apartment full of overgrown plants feels like an oasis in a chaotic city. Teresa’s quiet morning is interrupted by the arrival of Rosa (Rosa Estela Juárez Vargas), a younger musician in need of a favor. Rosa is scheduled to talk with a TV journalist, and she’s using Teresa’s sunny apartment instead of her own, thinking it a more suitable atmosphere for the profile. Eventually, Teresa’s daughter, Luisa (Luisa Pardo), enters this understated farce, observing the predictably banal interview, and the various technical difficulties, with alluring sidelong disregard before gracing the goings-on with a show-stopping cello recital. Over the course of an afternoon, the two-man crew incidentally documents the invisible bond between these three impressive women. Their almost telepathic running commentary quietly skewers the parade of peacocking men whose presence they briefly abide, predictable types who inflate the creative process for reasons entirely unrelated to art and fully in service of ego. It’s a heady topic delivered with a marvelously delicate experimental touch. ~OO