A vampire film built around an off-camera: precisely what leaves the vampires in the dark. A romantic film. A musical. A confession to the camera. And the recording of an album. The first feature length film by Víctor Iriarte (participant in 2007 in the La mano que mira project, and author of the festival’s header in 2010), it is a film that appears to be on its way to disappearance. Mursego’s images (artistic name used by the cellist, Maite Arroitajauregi, who put the music to the header directed by Iriarte and provide the sound to one of the amateur short film sessions in Heterodocsias Rewind in 2011) whilst recording the soundtrack to an inexistent film with a black screen that appears to win the party, as if the film itself wants to become the title, and disappear until its end. Becoming invisible. Saying goodbye. And continue filming in the dark, without being interrupted by anyone. Or as Isaki Lacuesta explains: “Iriarte always films what he likes most, what he loves, want he wants and most desires. There is not a drop of resentment in his film-making, but instead play and celebration, and in his most serious tones, some chaste notes of pain for the extinguished beauty vibrate”. The film comes to Pamplona having visited some international events, such as the Marseille or Mar del Plata International Film Festivals.