In one of the final scenes of Cristian Alarcón’s Cuando me muera quiero que me toquen cumbia. Vidas de pibes chorros (2003), the journalist is visiting Sabina, one of his sources, in a poor neighbourhood of Buenos Aires, when a shooting occurs. The male neighbours take their guns and run out to the streets, encouraged by the women to defend their villa. Crouching down behind the curtains, spying from the window, the journalist notices that, except for a child, he is the only one who remains in the house, “amariconadamente escondido” (112).