Draft:The River Train

In a remote riverside village in northern Argentina, nine-year-old Milo lives with his father, a stern and disciplined man who trains him in malambo, a traditional folk dance. Each day, Milo practices intricate footwork routines under his father’s watchful eye, repeating movements until they are perfect. Though talented, Milo grows increasingly restless, feeling trapped between his father’s expectations and his own curiosity about the wider world.

At night, Milo watches old films and television programs depicting Buenos Aires, imagining a life beyond the isolation of his village. He becomes fascinated with performers, trains, and the idea of movement—both physical and social. His fascination deepens when a traveling performer passes through the village, briefly exposing him to a different way of life.

After a tense argument with his father, Mariano, over his future in malambo, Milo secretly decides to leave. Before dawn, he packs a small bag and makes his way to a nearby river port, where he boards a passing cargo vessel that connects to a train route heading toward Buenos Aires. The journey begins as a quiet escape but quickly becomes disorienting, as Milo navigates unfamiliar landscapes and encounters strangers.

During the trip, Milo meets a series of transient figures, including dock workers, musicians, and travelers, each offering fragmented guidance. Some help him out of kindness, while others take advantage of his naivety. These encounters blur the line between reality and imagination, as Milo begins to interpret his surroundings through the lens of the films he admires.

Upon arriving in Buenos Aires, Milo is overwhelmed by the city’s scale and energy. He wanders through crowded streets, train stations, and marketplaces, struggling to adapt. He briefly finds shelter with a group of street performers, who introduce him to urban performance culture and encourage him to audition for a small theatrical production.

Milo attends the audition, attempting to combine malambo with elements he has observed in the city. Although his performance is unconventional, it draws attention for its intensity. However, his lack of experience and discipline in this new environment leads to setbacks, and he is ultimately left without a clear path forward.

As Milo’s situation becomes more precarious, the narrative shifts into a more introspective tone. He begins to reflect on his father, his home, and the meaning of his journey. Moments of fantasy and memory intertwine, suggesting that Milo’s experiences are as much internal as they are physical.

In the final sequence, Milo returns to the railway system, watching trains depart and arrive. The ending remains ambiguous: he is shown contemplating whether to continue forward into the unknown or return home. The film closes with Milo standing alone on a platform, suspended between childhood and independence.^{[3][4][5][6][7]}

• Milo Barría as Milo^[8]
• Mariano Barria as Mariano^[8]
• Rita Pauls as Profesora^[8]
• Lucrecia Pazos as Lucrecia^[8]
• Fabián Casas^[3]

The River Train was written and directed by Argentine filmmakers Lorenzo Ferro and Lucas A. Vignale, making it their feature film directorial debut. Principal photography took place in Argentina, including in Buenos Aires, Tandil, and along the General Guido‑Divisadero de Pinamar railway line. The film was produced by Cinco Rayos and co‑produced by Primo Content, with support from patron and art collector Amalia Amoedo.^[3][8]

The film had its world premiere in February 16 2026 at the Berlin International Film Festival as part of the festival’s Perspectives program, which highlights debut and emerging filmmakers.^[2]