The film set in New York, directed by Omar Zúñiga Hidalgo, uses an array of cinematographic techniques which, to me, demonstrated a realistic depiction of everyday life. The images seen on the train, appearing as if from a passenger's angle, by a point of view shot, illustrates the busy city life. This is a visual metaphor for the difficulties of such a fast paced society and how families struggle to make time for each other amongst this (as seen by Gaspar and his Father, who had previously not seen each other for two years).The constant reinforcement of technology and the continuing battle to escape it, whilst an estranged Father and Son try to reconcile over lunch, hints at where society is going wrong and the negative implications of technology on modern life. Gaspar, the protagonist appears to be absently wandering, lost in a foreign land, where he muddles through two languages of English and French, seeking the location that he intends to convene with his Father. His appeal for help regarding directions, as he switches from one language to another, could be argued as a metaphor for being mentally lost; which is confirmed when he leaves his Father alone at the Magazine stand. Gaspar appears to be undecided regarding whether he wishes to continue a relationship with his Father and as he gets into the cab and deserts him, it seems that he has made a choice. As Gaspar leaves his Father and gets into a Yellow New York cab, the epitome of the "Big Apple," and this classic iconography shows viewers that he is returning to a land where living is not so accelerated. With Gaspar's Father inhabiting in a hurried nation and Gaspar returning to Chile, it could be read to show that these cultures are incompatible, which makes a poignant end to the film.