Tellez is a strict and prestigious film critic, totally weary of Hollywood romantic comedies and certain that the best of the seventh art died long time ago. Maybe because of its work, suffers from what he calls the 'maladie du cinema': He sees the world like if it was a big movie that, in addition, he cannot keep from criticizing. While searching for his new apartment, he unexpectedly meets Sofia, a young and attractive woman that has very little to do with his good taste. 'Elemental, constructed on a basis of cliches' he would describe her. Movements of random bring them together over and over again, in strangely idyllic situations. Tellez attempts to escape from a staging that he loathes, but suspects that the movie genre that he hates the most is taking its revenge.

Leonardo, a successful industrial designer, lives with his family in an architectural wonder, a midcentury Le Corbusier home. One morning, he wakes to an irksome noise and is appalled to discover that workmen next door are constructing a large window that faces directly into his home. Leonardo protests, using a number of excuses (privacy, building codes, his wife), in an attempt to coerce his neighbor, Victor, into scrapping his plan. But Victor just wants a patch of sun to catch some rays. Thus, one man’s light is another man’s blight. Enamored of architecture, the film is meticulously designed. Mariano Cohn and Gastón Duprat give it a carefully crafted weirdness as well as a figurative quality. Its caustic humor comes in contemplating why the window completely undermines Leonardo. Does it reveal his arrogance, affectation, and lack of compassion; or dispel his bourgeois illusion of power? The Man Next Door offers a biting critique of moral shallowness—and what happens when thou dost not love thy neighbor’s window.

An enormous effort of narrative complexity made up of six independent, successive stories, connected by the same four actresses living very different experiences in very different universes…