A drug-addicted mom and her nine-year-old daughter—independent, unbowed, slightly off-kilter and united against all challenges—fight through Argentina’s economic crisis in this winning tribute to postmodern motherhood. Mother Florencia (codirector Vera Fogwill) and daughter Eugenia (Lucía Snieg) have a slightly reversed relationship—it’s Florencia who can’t quite function in this world and Eugenia who’s stable enough to right their ever-sinking ship. Florencia’s drug addiction keeps her mind as jittery as her hands; a bundle of neurotic-obsessive energy one day, a crashed-out shell another, she can’t quite plan for the future no matter how hard she tries. Precocious and practical, little Eugenia holds the household together (literally, once she learns how to fix broken appliances) while Florencia’s mood swings from manic to depressive. When Florencia gets a job as a maid to her former best friend, now a wealthy housewife, things begin to improve slightly. Coming to one another’s rescue time and time again, they know to not depend upon dreams of success or visions of handsome saviors, but upon one another. Fogwill gives the difficult role of Florencia a neurotic energy and punkish flair as appealing as it is risk-taking, all while wisely refusing to dip into overly melodramatic flourishes or heavy-handed narrative twists. As Eugenia, Snieg makes a winning pair with Fogwill, able to convey not only the self-belief that such a child must have, but also the dreams and sense of play that all kids possess, no matter how mature.