‘The Flower’ is a complex narrative made up of six independent, successive stories, connected by the same four actresses: Pilar Gamboa, Elisa Carricajo, Laura Paredes and Valeria Correa,all members of the theatre group Piel de Lava The universe of different stories changes radically from one episode to the next, and it is this kind of broad, wildly-ranging sweep that we seek. In the same way, the characters played by the fouractresses in each story aspire to the same variety. Pilar Gamboa could be a sorceress in the first, a pop singer in the second, a mute spy in the third, herself in the fourth, and a near-invisible secondary character in the fifth, before reappearing as a captive who escapes from the covered wagons of the wild Pampas of the 19th century in the sixth. The same applies to theother actresses. Each leaps from a fictional universe to another, as if they were at a masked ball. Just like Manet unveiled his model by disguising her as a bullfighter here, or laying her bare among the grass there, withsuccessive costumes revealing her, so too does The Flower seek to work with its women. So that the different ups and downs they go through and the different images they embodyultimately make up their four portraits.