Out of a personal conviction, I have long defended that the family unit is the building block of society and that, as such, our collective well-being relies deeply on how well this institution does. Therefore, whereas, from a macro perspective, the family unit at hand is the victim of a socially negligent conjuncture which is self-evident, each individual within that family unit, from a micro perspective, concomitantly becomes one another¶s victim and perpetrator a situation which is allusive to Plautus¶ assertion that ³man is wolf to man´ which is, to some extent, corroborated by Maslow¶s Hierarchy of Needs. The case at hand, as illustrated in the movie, appears to be symptomatic of a generational and systematic social issue rather than a mere isolated episodic instance. Out of this matrix of economic deprivation, internal friction sprouts and leads to progressively greater issues of domestic violence which are exemplified by a pattern of different abusive behaviors which range from emotional to physical aggression. But, beyond a simple explication of these disparate levels of society in this capital city, the film also strives, by the ways that it intertwines these three stories, to show how these levels of society are both mutually interdependent, and, ultimately, inextricable, one from the other.Problem within the Mexican context, the fact that the younger brother, Octávio, and Susana are unemployed while the older brother, Ramiro, cannot make enough money neither to support his family or help out with the household expenses does pose a shift to the paradigm. The second story sets itself to convey an upper class life that amounts to little more than a veneer of wealth, while the third story examines both the confined nature and the inherent freedom of the underclass of Mexico City.
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