In 27 nights, Daniel Hendler brings to the screen a story about mental health, old age and contradictions. An adaptation of the book of the same name by Natalia Zitoa non-fiction story that reconstructs the artist's case Natalia Cohenwho in 2005 was interned against her will in a neuropsychiatric hospital by force for their children, a key case to promote the current Mental Health Lawapproved in 2010. And he does it with humor, with criticism and a look that is always a little off-axis.

“Impartiality is an aspiration, an idealwhich is not possible in its entirety. But yes, the attempt is worth it. If I take it to a possible search of mine, it has to do with certain balances of trying to put the things in contradictionsaid the actor and director in an interview with Taty Almeida in the 750.

Thus, regarding the construction that he brought from the book to the screen, he said that he does not consider himself impartial. "But when you make a movie, you have to question your positions and certainties all the time. It is necessary to question ourselves. Although impartiality does not appear there, there is an attempt to be open,” he reflected.

“I can tell you that there was a temptation to put a villain who was a neuropsychiatrist (who in reality is the deputy himself Facundo Manes). It was fun to treat him as a villain. But when you start to see different sides, you start to commit a little more to each one,” he said.

After which he added: “And that temptation was finally left a little aside to give it more humanity. Take out this question of good guys and bad guys and generate a more complex story. Because the focus is on Marta Hoffman (Natalia's fictional name) and we get into that imprecise edge.”

"I believe that the real story provides a complex, interesting case. It seems to me that this is the strong theme of the film." It has to do with the passage of timewith mental health, with that border that establishes that some are left out y others inside of the sociedad”, he added, meanwhile, about a story that is much more than the anecdote.

For Hendler, the theme raises the multidimensionality that a film should have. “We try to comedy appear alone at the moment when one it takes away the solemnity of the matter. It was attractive to stick with the theme and make a more agenda-driven film, but we went for the humanity of the characters,” he added.

Then, he said: "And history is a framework and not a flag that we wanted to raise. Comedy is that humor appears in every crack. That we see even the hardest, most tragic things with humor."

At the end of the interview, Hendler stated: "There is also something that is difficult for all of us. Because one tends to grandparent to the old, to see them as no longer part of the living core of society. It seems to me that there the possibility of being alive and fighting with their contradictions is taken away from the elderly, from the older adults, and they are de-technologized, de-erotized.”

"In the case of the film, it is a case of a person who out of time decides to reverse that and make use of his vitality and connect with his desire. It seems to me that interesting, serious issues are combined with others that are life itself and how full of contradictions it is”he added.

After what ended: “The contradiction is humor, moving something from the axis, looking at it from the other side. And we have the commitment to always look at things and invite the viewer to look at things from a slightly different angle.”