In 1927, Jan Cornelis Mol, who was then director of the Fruitveiling, made "From the realm of crystal", an early example of the use of time-lapse photography in film. Using microscope and macro lens Mol makes a stunning film that shows the biological and chemical crystals. This work was picked up by the avant-garde artists who saw this film as the example of the absolute film. In the famous Studio 24 in Paris the work was even shown as an expanded work with three projectors!

Many of the earliest film experiments were later assigned to the horror genre. Horror nails the viewer to his seat, first by the temptation to look and then the relief that it was all fiction. No genre is so inherently parasitic as in the way it physically adheres to the viewer and inevitably makes him break into cold sweat. Not to mention the many parasites that powers the horror genre, from vampires to aliens to zombies. In this program, we look at how experimental filmmakers operate the horror genre, disassembling it to tinker again as if a new Frankenstein.

Pere Portabella (1929, Figueres, Spain) is known as one of the most acclaimed Spanish film directors and producers. After Franco's death, he followed a political career. With 'Vampir-Cuadecuc' he put in 1970, the demands of "nuevos cines" - the cinema supported by the Franco regime - aside. Filmed on the set of Jess Franco's "Count Dracula" (starring Christopher Lee and Herbert Lom) 'Vampire-Cuadecuc' can be best described as an 'avant-garde making-of', where the behind-the-scenes footage is used to bring an equally tragic and funny story about vampirism.

Ben Rivers went to work in a similar way with the recent 'A Distant Episode'. He was filming on the set of the London artist Shezad Dawood and refers not only to Portabella's 'Vampire-Cuadecuc' by using the same method, but also by returning to the electronic soundtrack written by Carles Santos.