Las corrientes transforms inner collapse into cinematic ambiguity.
MADRID, SPAIN — July 2026. Argentine filmmaker Milagros Mumenthaler has released Las corrientes in Spanish theaters, marking her return with a psychologically complex drama that refuses to offer simple explanations. The film follows Lina, a successful 34-year-old fashion designer who unexpectedly jumps into the Rhône River after receiving an award in Switzerland. She returns to Buenos Aires without revealing what happened, but an invisible fracture begins to disrupt the life she had carefully constructed.
Played by Isabel Aimé González Solá, Lina appears to possess everything traditionally associated with stability: professional recognition, financial security, a husband and a daughter. Beneath that surface, however, unresolved memories and emotional tensions begin to emerge. Her relationship with a mother who lives with agoraphobia becomes central to the story, while Lina develops an intense fear of water that affects even the most intimate moments with her child. Mumenthaler worked with a psychoanalyst while writing the screenplay to construct these psychological dimensions without reducing them to a clinical explanation.
The film uses sound, fragmented images and subjective perception to place the audience inside Lina’s unsettled consciousness. Rather than clarifying whether her action was deliberate, impulsive or connected to buried trauma, the narrative preserves uncertainty. Mumenthaler argues that society’s demand for concrete answers often functions as a form of emotional comfort. Las corrientes challenges that expectation by allowing silence, contradiction and ambiguity to remain unresolved.
Motherhood provides another layer of tension, particularly the social assumption that a woman must remain emotionally available, stable and identifiable once she becomes a mother. The film asks whether disappearance, reinvention or radical change remain possible when another person depends on that maternal identity. Its female characters appear as different reflections of Lina, suggesting alternative versions of the woman she once was or might still become. The result is less a conventional psychological mystery than an intimate exploration of identity, inheritance and emotional confinement.
The Argentine-Swiss production premiered in the Platform section of the Toronto International Film Festival and later received the RTVE–Another Look Award at San Sebastián. Its Spanish release arrives amid a severe financing crisis for Argentine cinema, which forced the project to rely on international co-production support. Against an industry increasingly shaped by predictable streaming formulas, Mumenthaler defends a cinema that trusts viewers to inhabit uncertainty rather than escape from it.
Some films provide answers; Las corrientes asks why we need them.