Nevertheless the icy monosyllabic Ruben does, eventually, begin to warm to the charms of his passengers as the journey progresses, as Jacinta gently bypasses his dour defences and he slowly falls in love. It is a film with little dialogue, with the silences on screen being filled with the heavy hum of the lorry engine, but it is a rewarding and perfectly constructed slow burner and an uplifting and hope filled experience to boot. This is though a very subtle film, with the camera in Giorgelli’s words acting as a “secret eye” in the cabin, simply relaying events as they happen to the audience, with no dramatic flourishes attached.
Although, many critics have noted that it is actually baby Anahi who steals the show, with her interactions with the two adults being exquisitely captured by the camera, at one point Ruben yawns and Anahi copies him, probably an unplanned moment, but a film stealing one. Giorgelli has poured his heart and soul into Las Acacias, of that there can be little doubt, and a good chunk of life experience gleamed from his own problems too before he found success.