Ariel, a hangdog thirtysomething who clerks for his mother's lingerie business in a rundown mall in Buenos Aires, spends his time wailing over his father's desertion of Mom back in 1973. Nothing else -- like his brother's tacky get-rich-quick schemes or the shop assistant he has sex with -- seems to interest him very much. The heir of a Jewish family who fled Europe in the 1930s, Ariel chases the lone goal of scoring a Polish passport so he can return to the Old Country. He thus spends most of the film saying goodbye to the polyglot multicultural milieu we're gradually finding our way around in. Writer/director Daniel Burman shoots this comedy of character in the overly trendy handheld video mode; it's a visual thumb in the eye that interferes with an appreciation of his great ear for dialogue. Then Dad shows up, and Lost Embrace turns into Run Ariel Run.