The year 2011 seems now too far, when an almost unknown Milagros Mumenthaler begun catching the attention at the festival circuit with her opera prima, Abrir puertas y ventanas. The story of three sisters and a family large house haunted the audience at awards like Locarno, San Sebastián or Guadalajara. From a minimum premise and an attractive unique scene, the filmmaker built with an unprecedented strength a whole creative universe for her first feature film, which she’s being polishing at her spaced and well meditated screenings. Exploring the (family) sentimental bonds, the entry to adulthood and the immersion to the hidden memory of places loaded with a singular affective weight found comfort in a poetry moved within a fertile field, between sensoriality and the mystery of Lucrecia Martel and the emotional acumen of Mia Hansen-Løve. The lives of the youngsters Marina, Sofía and Violeta, who must learn to grow up and live with each other at their newly passed grandmother’s old house -who raised them- experienced a very meticulous aesthetic approach although at the surface the twists and turns were reduced to the minimal expression. Mumenthaler suggested fifteen years ago a cinema of silence, ellipsis and spaces densely braided by memory, give-ups and attachments, a cinema based of the narrative troop of absence and of the stories related in a whisper. A cinema that parents observation and poetical suggestion with whom diving the complexities that put in our daily lives. GABRIEL DOMÉNECH GONZÁLEZ