This article examines the new Argentine social (urban) space of the last decade and its dynamics of appropriation, domination and resistance in two Argentine movies: El hombre de al lado (Mariano Cohn and Gastón Duprat, 2010) and the short film La última frontera (Mariano Cohn and Gastón Duprat, 2012). Based on concepts drawn from Hannah Arendt, Zygmunt Bauman and Roger Silverstone, it explores the fascination for describing the house as an intimate fractured space, where it is already impossible to handle conflicts. It analyses how these films exhibit an internal frontier in the common space, a failure that is installed in what could now be seen as an exasperated microcosm. It concludes that this naturalized fragmentation of the common space suggests a dissolution of social ties and reveals an interweaving of suspicions and distrust in the social spectrum.