The Argentine economic and social crisis of 2001 generated a temporary rearticulation of certain ways of interaction among individuals, as exemplified by the emergence of public assemblies, the seizure of factories by workers and the creation of alternative solidarity networks. This
proliferation of encounters among individuals from different class and cultural backgrounds produced a collapse of certain class roles and aspirations that can be seen at play in the films of the post-crisis period. Jorge Gaggero's Cama adentro/Live-in Maid (2004) and Vida en Falcon/Life
in a Falcon (2004) are two prime examples of that subversion of class identification and its spatial representation. The activities of daily life, generally place-and-class-bound, are represented in these films as unstable categories that shift considerably after the events of December
2001. Private and public spaces are crossed and intertwined, mirroring the social rearticulation of the time. This article analyses Gaggero's construction of these social class displacements in Argentina and the spatial changes of everyday lives produced by the neoliberal crisis.
Our target readership includes students, teachers and scholars. The journal is written in English to maximize the opportunities for contact between academic disciplines such as Media, Film Studies, Latin American and Post-colonial Studies, as well as Hispanic Studies, thereby encouraging an inter- cultural and inter- disciplinary focus.