The artists involved in the staging of Los Murmullos (The Murmuring) decide to jump into the mud of the most recent Argentine history. All scene elements -actors, text, setting, lighting, music- take a stand on the dark side of the theatrical moon and assume a politically incorrect viewpoint on a sensitive issue: the children of the disappeared by last military dictatorship. The anecdote as such is brief, but its formal development is shocking and annoying. Following the guidance of Dante and Virgil, a missing person’s child returns to the detention center where his father got missing to have a talk with his ghost. Against all prediction, the talk is not the least kind but bitter: the son has returned to complain to his father for having opted for political struggle instead of being his father, a historical dilemma of generations with no possible solution. Thus, Rosario, the protagonist, decides to break up with the chain of paternal commands that has sacrificed their children, devouring them like Saturn. Like an undercranked film made with found footage, the staging of Los Murmullos faces us with a vortex of quotations and references that fueled the last 40 years of history.