PLOT SUMMARY

Miguel (33 years old) is a single man who lives a melancholy life in a filthy apartment in Buenos Aires surrounded by his equally dirty house pets (dogs and cats). From Monday to Friday he rides his bicycle to work across the city. He works as a clerk at lawyer’s office answering the phone, filing, and running errands. Miguel keeps himself in very good shape, he does not drink or eat refined flour and sugar, but he detests each and every single aspect of his life. When he sleeps, dreams, wakes up, eats, and rides the bike he experiences the same tedium and discontent as he does when going about his clerical work. Following his psychoanalyst’s advice, he keeps a journal where he records his dreams every morning, as well as other thoughts and feelings he has throughout the day.

But one fine day, after waking up feeling the same old tedium and resignation, a series of unexpected events and coincidences gives him the chance to make a radical change in his life and to meet the woman of his dreams.

FILM AESTHETICS

“Today Maybe” follows a classical narrative structure. Partially inspired by Agnes Varda’s Cléo from 5 to 7 and by the work of Japanese master Yasujiro Ozu, director Sergio Corach in “Today Maybe” also echoes Robert Bresson’s ascetic approach to acting as well as Aki Kaurismaki’s, with its irreverent and secular sense of humor.

The film has no camera movement. Every single shot is static and the composition of the frame follows vertical and horizontal lines easily identifiable. In this sense, the cinematography is the antithesis of 3D cinema.

The film is shot in black and white, but includes color in the opening scene (the main character’s dream), in a cartoon that plays on TV, and in a sequence of Renaissance paintings that the main character observes. In other words: the realm of the imagination is in color, whereas “reality” is in black and white.

This is a film that deals with transitions. Just like our daily lives are consumed by small journeys (from home to work and back, running errands, going out to eat, etc…) the film tells the story of this constant and meaningless going to and fro.

Although the film tells the story of only one character, Miguel, it really is the story of three voices. Miguel is present in every single scene, he connects the different places, times of day and characters and we follow him throughout his day, but the spectator also has access to Miguel’s subjectivity by means of listening to his thoughts and reading his journal. Often times what happens, his thoughts on it and his subsequent journal entries differ dramatically, thus creating a pronounced narrative dissonance.

The film also utilizes empty frames, by keeping the camera running before and after the action takes place. Finally, the use of sound is non-naturalistic, yet fully expressive, without incidental ornaments or non diegetic music; and rather in the form of a musical sono montage.

CREDITS

Off-screen:

Directed and produced: Sergio Corach

Written: Sergio Corach and Pablo Maurette

Cinematography and Camera: Alejandro Padín

Edition: Oscar Curras
Sound & music: Raúl Moller Jensen
Animations and digital effects: Pamina Goldenberg Thiery

Assistant to the production and direction: Adriana P. Koremblit

On-screen:

Sergio Corach
Ezequiel Ludueña
Luciana Rizzo
Luciana Saez
Ana Laura Suarez Cassino
Silvio Rotshtein
Sebastián Corach
Julio Ludueña
Adriana Patricia Koremblit
Fernando Redondo
Marcelo Roldan
Yana Alvarez
Lula
Damián Wajntraub
Hugo Koremblit

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