In the opening shot of Ariel Kleiman’s PARTISAN a faceless man is seen on the outskirts of a decimated town. Like Christ, he is seen carrying a cross of wires and wood. In the next scene, the man (still unknown) is seen shirtless and completing a long table in a crumbling industrial space. It is as if he is preparing for the return of his family. Then, we are introduced to Gregori.