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Una de las experiencias que genera más desasosiego de esta edición de la MIDBO, es al mismo tiempo, la película más desoladora y brillante de Tatiana Mazú González. Un cine ensayo de denuncia que figura atmósferas que son catatumbas, sedimentos de desaparecidos por la violencia estatal y policial; sus soluciones formales recuerdan a Jan Ijäs en Belgrade Forest Incident…and What Happened to Mr. K? (2023) donde el cineasta combinaba disección de archivos oficiales de la policía con extensos planos estáticos de espacios conjurantes del crimen del reportero y disidente saudí Jamal Khashoggi, pero Mazú González lleva los movimientos de su material a diferentes capas de sentido, convergiendo en la desaparición del joven Luciano Arruga, en un crimen de Estado perpetrado entre la ciudad de Buenos Aires y su conurbano; la cineasta despliega el hilo sollozante y frágil de la voz de la madre de Luciano que cubre las imágenes de las avenidas bonaerenses como una bruma inquietante y dolorosa mientras el archivo navega los imaginarios mundos del ausente representados por ilustraciones de novelas de Julio Verne y peregrinajes en Google maps por las calles que atestiguaron el oprobioso suceso de una soberanía que otorga la muerte con pragmatismo técnico.
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