The Last Summer in La Boyita 2009

Jorgelina, Guadalupe Alonso, a girl entering adolescence, awakens questions, insecurities, and fears as she spends a summer at her family’s countryside property in Entre Ríos, where La Boyita (the Fishing buoy)—an old trailer that has long been her refuge and the stage for childhood games and fantasies—remains a quiet, comforting constant.

There she hopes to reunite with Mario, Nicolás Treise, the farmworkers’ child who has been her friend since childhood and who now stands on the edge of adolescence himself.

As adults murmur about “the matter,” Mario’s coming-of-age is treated with a conspicuous silence, a tension that unsettles the family’s routines and the father’s expectations.

As they grow, Mario does not fit the traditional male role his father expects, sparking anger and shame behind closed doors.

Jorgelina draws closer to him, offering companionship and support, and she treats Mario not as a clinical case but as a person navigating change alongside her.

Whenever others describe Mario in clinical terms, she covers her ears, insisting on seeing him as someone with his own agency and voice.

Throughout the summer, the two explore their evolving bodies and identities with honesty and patience, facing awkward questions, playful moments, and quiet discomfort without resorting to prejudice or stereotype.

They share the landscape of the countryside—the fields, the old trailer, the summer heat, and the slow, honest pace of life—that becomes the backdrop for their conversations, silences, and small victories as they move toward a more nuanced understanding of themselves and each other.