By José Sarmiento Hinojosa

Dalibor Baric’s experimental animation cinema Works as a specters’ compartment: faceless creatures at the margin of the representation of reality, figures recreated by the process of découpé (or decollage, as mentioned by Antoni Pinent in his visit to Lima), manifestations of this “fetishization” of the uncanny valley1. Since Spectres of Veronica (2011) to The Horror of Dracula (2010), these characters make the visual interpretation restless; displace the comfort of the habitual to transform themselves in new meanings, new readings, new points of departure.