"Burn" is a film essay on body wear and acceleration. Different bodies enter a vicious circle of ill-treatment and madness that will eventually transform the matter in them. Through allegory and visual metaphors, the short aims to show certain ideas such as capitalism, the consumer society, the society of fatigue and other derived concepts. A mix of genres; a kind of body horror with elements of fantasy, including video dance, building the entirety of this film essay. Are you ready to burn?


Documentary as the making of of 'Count Dracula', a film directed in 1970 by Jesús Franco. Vampir-Cuadecuc is possibly the key film to understand the transition that takes place in the Spanish cinematographic field from the period of the "new cinemas" (allowed by the Franco administration) towards the clandestine, illegal practices or open opposition to the Franco regime. It consists of a filming from the filming of the commercial film El Conde Drácula, by Jess Franco.

A child-minded man named Johan (Norberto Trujillo), is guided by the voice of his father (Jose Luis de Madariaga) to defeat the demons that have taken over their town and save it. However, whether his father can be trusted is something that Johan is not yet certain of.

Sleepless nights can be dangerous.

A werewolf thinks she has her life figured out until a late night chance encounter changes her mind.

A burdened man feels the wrath of a vengeful God after he and his wife are visited by a mysterious stranger.


In 1965, three years before the release of George A. Romero's Night of the Living Dead, in Tucumán, director Ofelio Linares Montt shot Zombies in the Sugar Cane Field, a horror film with strong politi- cal allegories. The film opened in the us to great success, but when it was time for its Argentine release, in the midst of Onganía's regime, things went south and all trace of the film was lost. Following Lu- ciano Saracino, a writer in search for the film's original screenplay, Schembri's documentary researches the steps of this cursed classic, with a few surviving images and testimonies of critics, filmmakers and the beloved Isabel Sarli. At the end, an idea is summoned: aren't there too many "coincidences" between Linares Montt's and George A. Romero's films?