In her third film Milagros Mumenthaler takes an urge as the starting point, an automatic movement that suddenly shakes the life of an Argentinian stylist. Lina jumps into a river during a business trip to Switzerland, and when she returns to Buenos Aires, she realizes that nothing is the same. Embracing the adrift female characters representation models, characteristic of modernity, from Antonioni to Ackerman, the Argentinian filmmaker puts in a critical regard to the contemporary’s society neo-liberal unease, which she builds within the inner world of her own main character. That is why the mise-en-scene is led by her thought’s uncertainty, through touches of lyricism and nuances of fantasy and mystery that conform the narrative corridors of the film and expose Lina’s confrontation with a cog in the bourgeois social machine, a cosmos that, all of a sudden, doesn’t work anymore for her. Mumenthaler depicts that state of identity-related vulnerability arising from an existential imbalance with everyday life, but also corporal and primal, through the sudden hatred to water that Lina is suffering and that gets worse at times The conflict between the outside and the inner world, where she doesn’t acknowledge herself and seems to vibrate at a different frequency than the environment she’s inhabited ever since, is conditioned by the female experience. In Las Corrientes a repeated questioning of current marriage protocols and expectations and motherhood lays under, establishing at the same time a relation with fashion and beauty to which the main character belongs. To this regard, a special attention is reserved to silences and spaces constituting that everyday life that has completely lost its familiarity, aligned with works by filmmakers like Christian Petzold or Angela Schanelec, who have constantly represented the micro-structures of a capitalism that has definitively intervened the vital schemes of 21st century’s bourgeoisie. NACHO ÁLVAREZ