Hiroshima is set in the outskirts of a Uruguayan city. One of the inhabitants of this lightly populated part of the world, and the star of this film, is a young man, Juan (Juan Andrés Stoll), whose entire existence has no direction or urgencies. He stays with his parents, he is unemployed, he is happy to do the chores, he has a few friends, and he spends much of the day walking (or biking) around the city with his ears tuned into a steady stream of post-punk rock instrumentals. The only tension in the film occurs when Juan wins a job in a lottery (I have never heard of a job lottery, but I suppose it could exist): Will he take it or not? He is not opposed to working, he thinks it's pretty cool to win something on TV, but for a young man with almost no ambitions, concerns, or goals, just getting to a job is an incredible challenge.
The job Juan won happens to be on the other side of town—light years away. He has to cycle across this vast amount of time and space. And what if the wind blows in a direction that's different from the location of this job? What will happen then? And what if he meets a friend who is smoking pot or cooking chickens? What shall he do? These distractions, along with the wind, have more than enough force to change his course. Indeed, in one scene, a woman appears out of nowhere and invites him for a swim in the pool at her house. As he has already lost his clothes during another digression/distraction at a beach, he accepts the offer. The two take a dip in the pool and sort of make out—she wants him more than he wants her (Juan is incapable of really wanting something, be it a job or a beautiful woman).
But what is Hiroshima? What kind of movie is this? It is, as the end reveals, a long and delightful music video that has successfully risen to the condition of cinema. Pablo Stoll's movie has a lot in common with Kanye West's Runaway.