Today, when it seems that cinema can talk about everything and show everything, it is at least significant that the place most films don't dare to go is the world of work, precisely what determines the daily lives of most of the population. It is one of capitalism's great triumphs: turning work into a kind of dramatic taboo, a residue where fictions don't bother to linger, lest we begin to question the meaning or the fairness of the activity that occupies our routines. Fortunately, there are still some filmmakers committed to making clear what their antiheroes live (and die) by, as is the case with Alberto Rodríguez.