By Aldo Padilla

Romantic comedies’ codes are a complete leap of faith. They usually start with some of its basic premises, like love at first sight, and with an almost instantaneous correspondence, despite the circumstances that surround each person. In general, picturesque sceneries are preferable for the development of love: it can be an office, or a slaughterhouse (like last year’s winner of the Golden bear On Body and Soul) This year, Thomas Stuber’s In the Aisles takes this genre to the aisles of a supermarket, where an employee with a dark past learns about his trade with different tricks and nuances.