On the canyon of the Paraná River, in Rosario, transiting the 9th day of filming of the film “Dogs of the Wind” (with strict protocols implemented), national and provincial authorities arrived at the filming set to provide accompaniment to the development of audiovisual activity in Santa Fe. It is the most important feature film being filmed at the moment in the province’s pandemic.Present were National Senator Roberto Mirabella; the Undersecretary of Creative Industries Félix Fiore; the Director of Sociocultural Innovation Florencia Lattuada; the Technical Advisor in the Ministry of Production, Science and Technology, Delfina Clara López; the Provincial director of Boleto Educativo Rober Benegui and the head of the Santa Fe Film Commission Ariadna Solís, together with the producer Milagros Alarcón, the actor Luis Machín and the director Hugo Grosso.The production of Físico Cine has gender parity in a team of technicians, professionals, producers and actors from the province and Spain.In the leading roles Luis Machín and Gilda Scarpetta, plus a wide cast among which stand out the Uruguayan actor Roberto Suárez, the Spanish actress Estrella Zapatero, Carlos Portaluppi and Lorenzo Machín, son of Luis and Gilda; and locals Juan Nemirovsky, Roberto Moyano, Claudio Danterre, Mirta Maurizi, Gustavo Guirado, Adriana Sabbioni and Miranda Postiglione, among more performers.The main location is the Barranca del Parque España, since the fictional plot – documentary revolves around a mysterious fact: the dogs were thrown into the river in that canyon.The story revolves around Ariel, a low-rise writer, who went into self-exile in Spain to escape the contradiction generated by his romantic bond with Laura, the wife of his best friend. Ariel works in a transmedia cycle called “Animality”, which makes animal behavior visible, and receives messages under the pseudonym Magritte that refer to “the canine suicides of the Parque de España”. The one who sends the messages is none other than Juani, a 16-year-old boy, son of Laura and José María, whom Ariel does not know, because he was born shortly after his departure. Believing that he has been summoned by Laura, the screenwriter returns to his city to investigate the subject and, with each piece of information he incorporates, he becomes more vulnerable, more primitive, even more animal; split between the desire for that woman, the remote possibility of being Juani’s father and the guilt for disloyalty to his best friend.