Cast overview, first billed only: | |||
![]() |
Guillermo Pfening | ... | Nico |
Rafael Ferro | ... | Martín | |
Paola Baldion | ... | Viviana (as Paola Baldión) | |
![]() |
Mayte Montero | ... | Marina |
![]() |
Asia Pfening | ... | Theo 3 Meses |
![]() |
Brian Leider | ... | Modern Dad |
Elena Roger | ... | Andrea | |
Ana Carolina Lima | ... | Tikki | |
Kerri Sohn | ... | Claire | |
Pascal Yen-Pfister | ... | Pascal | |
Cristina Morrison | ... | Kara | |
Mirella Pascual | ... | Nico's Mother | |
![]() |
Lisandra Payan | ... | Yoli |
![]() |
Danielle Silva Dos Santos | ... | Camilla |
![]() |
Katherine Vasquez | ... | Katty (as Katherine Vásquez) |
NADIE NOS MIRA is a film about the struggle of self-imposed exile; how the pleasures of anonymity and freedom contrast with the pain of loneliness and loss that shapes immigrant experience. NICO, mid 30's, is a young Argentine actor fighting to build a career in the US, without assistance, or connections, never too far from heart-breaking failure, but often blinded by the mirage of immediate success. Nico has left a promising acting career in Argentina, after a tumultuous break-up with his mentor/producer. He lands in New York, lured into believing that his talent will help him find success "on his own" and prove his self-worth. But that's not what he finds. Too blond to play latino, his accent to strong to play anything else, Nico gets stuck between identities: that of the successful South American actor, and temporary immigrant needing to juggle odd jobs and under-the-table employment, in search of the ever-elusive acting part that will provide an adjustment of status. When Andrea, ...
I think that a single moment can define this film: when Nico has to teach an American the difference between the verbs "SER" (constancy) and "ESTAR" (mobility), something quite particular to both Spanish and Portuguese (my native idiom) languages: the new yorker realizes, and tells him right away, that his presence in the USA is merely provisional (he ESTÁ in New York), and that his true self É Buenos Aires. Everything else, the frustrated attempts to act in a film (which never materializes), his work as a nanny (the one he accepted and the some he rejected), the pathetic change in his hair color ... everything is an echo of that brief dialogue , which deals with the difference between the verb TO BE and the verbs SER / ESTAR.