One of the most interesting points of comparison to be made between recent cinema and theatre is in the appropriations that certain films and plays make from the documentary genre. New Argentine Cinema is a well established critical label for what in fact represents a somewhat heterogeneous group of films produced since 1995. The lack of any unifying ideology or programme, however, means that it falls short of qualifying per se as a movement (Wolf 2002: 30). New Argentine Cinema is generally characterised by its minimalist aesthetic (blurring documentary with fiction), its emphasis on micropolitical, everyday existences, also typical of documentary, and the fact that it shuns macro-political allegories that attempt to give any picture of the social totality (Wolf 2002: 29-43). Its almost exclusive focus on contemporary scenarios, often on those living on society's peripheries (Wolf 2002: 33), ‘push[es] the boundaries of Argentine national identity through low-budget cinema’ (Falicov 2007: 152).