A cinematic portrait. At one point in the film, the filmmaker types on his computer screen: “Every portrait is a self-portrait.” There is no narcissism in this statement, just a technical fact: the photographic portrait has an off-screen and, in the case of cinema, movement is added to the off-screen. The portraitist does not need to project his subjectivity onto the model, in the old pictorial way. The mere presence of the off-screen makes the positions of the portraitist and the portraited dependent, intertwined with each other. It takes at least two people to make a film. The people represented in this film, the two Argentinian artists who make up the Mondongo collective, are also professional portraitists. For the filmmaker who attempts to portray them, this means a particularly intense negotiation. A portrait can also precipitate the breakup of a friendship, and it will be further proof of the necessary bond – and this is why it can be broken – between the portraitist and the model.