Benjamín is finding it hard to adapt to his job and starts behaving erratically. He anxiously awaits the return of the Mennonite leader, but the wait is long. The Mennonite leader finally appears 30 days later and tells César that they must stay on for longer to continue putting up the wire fencing. Benjamín objects. A series of arguments ends with the Mennonite leader allowing Benjamín to leave with him, asking César and Genaro to stay on for another three days to continue the work. César and Genaro’s only hope is that the days will pass quickly, but Genaro’s past resurfaces. Tired of waiting for the leader to return, the two leave the place with no fixed destination.
The employer is a young man from a middle-class family; he leads a modern life and doesn’t fit in with the traditional stereotype of rural producer. But he has one pressing concern: his baby’s health. The employee is even younger than him and is in urgent need of his own job so that he can support his new family. Tragedy occurs: the employee’s baby dies in an accident in the tractor. A film about the relationship between two young men and about the convoluted relationship of both with happiness, freedom and work.
Jesús López, a young racing driver, dies accidentally leaving his village in astonishment. His cousin Abel, a drifting teenager, gradually feels tempted to take his place. He moves in with Jesús' parents, wears his clothes, gets closer to his friends and ex-girlfriend. At first, people accept him and Abel takes a liking to the role. But the resemblance to his cousin becomes disturbing, to the point that he ends up transforming into Jesús López. A car race in homage to Jesús is organized in the village. Animated by the spirit of his cousin, Abel drives the deceased's car. The outcome of this race will determine whether or not the result of the transformation becomes definitive
Jorge lives on a coffee plantation in the middle of a forest-covered valley. He is the only member of his generation who has decided to stay in the countryside. For some months now nobody has wanted to pick the beans and his harvest has been hit by a severe plague. The local festivities are approaching and with them the reunion with his first love and his childhood friends, who come home from the city. After a weekend of celebration and having confronted the ghosts of his past, Jorge will realise that only fire can make ash out of a plague that not only inhabits the coffee plantations, but also the streets of the town and the mind of its visitors.
In the face of the imminent educational reforms promoted by the Buenos Aires Government, a group of young militants debates on whether to organise a mass occupation of the city schools or to publicly condemn one of its members for gender-based violence. In Portugal, the first minister commits suicide. In Brazil, the president is poisoned. In Mar del Plata, the attempted murder of the mayor leads to a romance between those involved and that same day a cultural fund for film development becomes available. Back in Buenos Aires, another group of militants debates on whether to support the occupation or to defend their militant comrade against the accusations.
Sina travels to the coast to accompany her friend Greta in the sale of her summer house. Less than a year ago Greta lost her only son in that sea and she needs her help. While they are packing everything up and getting ready to hand over the key, Greta’s husband Bruno claims to have seen something that confirms the locals’ rumours of the appearance of a strange creature. Piedra Noche (Dusk Stone) is a film about devoutness, through the figure of the witness, the one that perceives us and narrates us. About living with the other’s belief systems and about the tenderness of that pact for overcoming the pain.