In the late '50s/early '60s, Leopoldo Torre Nilsson was considered by some critics in this country to be a kind of Argentine Ingmar Bergman. Most of his films were co-authored by his wife, the novelist Beatriz Guido, and were arty/baroque treatises on the decadent world of the Argentine upper bourgeoisie. His characters lived “shut away from everyday realities, trapped by remorse, amorality, corruptions, obsessions, passions, and illicit affairs.” (Sadoul) Today, his work is seldom revived, and the general critical consensus seems to be that Torre Nilsson's films are nothing more than pretentious melodramas, boringly executed with little sense of film movement - derivative works whose better moments are steals from Bunuel, Bergman or Antonioni. Some Torre Nilsson defenders consider Hand In The Trap his best film. An involute mystery with gothic overtones, Hand In The Trap tells the story of an adolescent girl who visits a spinster aunt, and discovers that another of her aunts has lived there in total seclusion ever since she was jilted by her fiance twenty years before. The young girl decides to bring about a reconciliation: she tracks down her aunt's former lover, who is now a wealthy family man. The girl's detective work backfires in the course of a number of unique plot twists.