Argentine Horror Cinema: A Deep Dive [Interview]

I lived in Argentina (I’m from the U.S.) for a year after college, and I happened to be deep in the early stages of my horror film obsession at that time. So, I watched what was available to me then. And that included a lot of Argentine horror films.

Dr. Risner generously answered my questions below. Please note that small parts of this interview have been edited for clarity and/or readability.

How did the horror genre emerge in Argentine cinema, and what were some of the earliest examples?

The earliest Argentine horror films are considered (El hombre bestia, o las aventuras del Capitán Richard/The Man Beast, or the Adventures of Captain Richard, 1934), Una luz en la ventana/”A Light in the Window” (Manuel Romero, 1942), and Si muero antes de despertar/”If I Die Before I Wake” (Carlos Hugo Christensen, 1952). Film titles aside, a television series Obras maestras del terror/”Master Works of Horror” (1959-60) and several horror/exploitation films directed by Emilio Vieyra [(Sangre de vírgenes/Blood of The Virgins, 1967) and La venganza del sexo/The Curious Dr. Humpp, 1969)] are important historical references. Horror production in cinema and television in Argentina is there, but it is not necessarily sustained.   

How has Argentina’s political history influenced its horror films, especially during periods of dictatorship and/or censorship?

This is a great question with some nuances. I am fascinated by the questions of (1) which film genres in a country are deemed culturally appropriate to depict hardship or national trauma (or trauma for a particular group of a populace) and (2) when.

In interviews with Argentine directors and journalists circa 2008, when this topic came up most said that horror would not be correct to depict the dictatorship in horror. Though we did not talk about which genres were appropriate, one can see in Argentina that the dictatorship is mostly depicted through melodramas, documentaries, and arthouse films. That said, Moebius (1996) is a science-fiction film with touches of horror and which loosely allegorizes the disappeared during the last dictatorship (1976-1983; 30,000 deaths).

Other genres during the dictatorship did use allegory to evade censorship and weigh in on what was happening: Tiempo de revancha/”Time for Revenge” (1981) and Últimos días de la víctima/”Last Days of the Victim” (1982) [This last film is a remake of Coppola’s The Conversation and is really great.]

The first commercial horror film to explicitly deal with the dictatorship is Sudor frío/Cold Sweat (2010), although a low-budget horror-gore-comedy (Nunca asistas a este tipo de fiestas/”Never Go to that Kind of Party) from 2000 takes on the dictatorship.

In some cases, when I asked directors in 2008 about making a horror film about the dictatorship, most did not express much interest, and some viewed the horror genre as a genre to escape from social, cultural, and political topics that have traditionally been rife in Argentine cinema. 

Are there any particular social or cultural anxieties that Argentine horror films tend to explore? 

I hesitate to generalize; however, there are films that comment on women in Argentina, including abortion. 

What are some recurring themes or motifs in Argentine horror films, and how do they differ from those in other countries’ horror cinema?

This is difficult. I think one can see tropes repeating across works by particular directors or collectives. For example, there are gothic tropes in Daniel de la Vega’s movies. In films directed by Jimena Monteoliva, there is a focus on female characters and issues facing women (e.g., domestic violence). In films produced by FARSA productions, there is slapstick gore and humor. In films by Paura Flics and directed by Adrián García Bogliano, there are a number of movies with female protagonists.  

How does Argentine horror deal with folklore and local myths? Are there any specific legends or creatures unique to Argentine culture that are frequently featured?

I have only encountered one Argentine horror film that deals with folklore and that is Los que vuelven/The Returned (Laura Casabé, 2019). It deals with an indigenous myth. 

Has the genre shifted in focus or style over the decades, and if so, how?

In the 2010s, the genre became more professionalized in the sense that filmmakers making horror films began to receive support from the government’s filmmaking body, INCAA (Institution Nacional de Cine y Artes Audiovisuales). Without support from the government, it is not possible to show one’s film on the commercial circuit. Although economic support does not automatically mean that a movie will be good, with INCAA’s support the production values for films have improved. 

What are some must-watch Argentine horror films for someone new to the genre, and why are they significant?

I would like to frame the conditions or budget constraints that a lot of films were made in. In many cases, the films were made on shoestring budgets with people doing multiple jobs. With that in mind, a lot of the movies are incredible.

Here are some recommendations: Plaga Zombie series (slapstick gore-comedies); Daemonium (horror/science-fiction horror made with no budget. Originally released on YouTube in chapters. Was on Netflix); Mujer lobo/She Wolf (good “arthouse” horror; movies by Germán Magariños : Gorevisión and Sadomaster (trash horror, in-your-face; does not mind being offensive); Sarna (punk horror); Paura Flics and directed by Adrián García Bogliano: Rooms for Tourists and Cold Sweat (well-done low-budget horror. Cold Sweat deals explicitly with dictatorship); Javier Diment: Memoria del muerto (different style, Lynchian at times); Pussy Cake (zombie film that mashes up Jem and the Holograms); Legions; What the Waters Left Behind (filmed in the ruins of a resort. Flashes on Texas Chainsaw Massacre). 

Can you tell me about the work of influential directors or writers in the Argentine horror scene?

I think the answers above help some. Cinema aside, I think it is worthwhile to acknowledge literature being written by Samanta Schweblin and Mariana Enríquez. They have some works that fit squarely in the horror genre, and it is quite good.   

Are there any Argentine horror films that gained international recognition or influenced global horror trends?

The most lauded Argentine horror film to date is Cuando acecha la maldad/When Evil Lurks. His film Aterrados/Terrified (2017) also attracted attention.   

How does Argentine horror compare to horror films from other Latin American countries, such as Mexico or Brazil?

This is tough. In the case of Brazilian horror, Coffin Joe is the historical reference for Brazilian horror. Otherwise, it appears that commercial horror cinema production has picked up in Brazilian horror, and questions of race are more salient. Mexico has some great contemporary horror films as well as tradition of horror films by the likes of Carlos Enrique Taboada and other directors who made horror as well as films in other genres.    

What role do economic factors play in shaping Argentine horror films, particularly in terms of production quality and storytelling?

Well, up until the 2010s, many horror films were made on extremely low budget. This continues to be the case often. However, now there is more a possibility that a film will receive support.

How has globalization affected Argentine horror cinema? Has it become more Hollywood, or does it retain distinct Argentine elements?

I think of globalization affecting Argentina in a fundamental way. During the 1980s and 1990s, the broadcasts of genre cinema on TV and its availability in video rental stores was a game changer. Kids growing up at that time were able to see horror films from elsewhere more regularly than, say, going to a movie house. I feel that at least some directors and other artists (special effects, lighting, scriptwriters, etc.) were inspired to make horror films given their own consumption of horror films growing up. 

How do Argentine horror films handle issues of gender, race, and class?

Los inocentes/The Innocents (2016) is a film that deals with slavery and its legacies in Argentina. Films directed by Jimena Monteoliva often deal with issues faced by women. A number of Javier Diment’s films deal with queer themes along with other ones.  

Are there any subgenres or styles within Argentine horror that are particularly popular, such as slasher, supernatural, or psychological horror?

It is hard to pinpoint a single genre because many are present either in a particular film or among different films. I suppose something that might be compelling is that one can see the influence of giallo films. Dario Argento, as well as a number of other directors, are well-received in Argentina.

Who are some emerging filmmakers or recent films in Argentine horror that deserve more attention?

Not sure.

Has streaming or digital distribution changed the landscape for Argentine horror films, both domestically and internationally?

Depends on who you ask. For some, streaming platforms have improved the circulation of a film. However, if one does not enjoy that opportunity, the film’s circulation has to depend on other means, such as film festivals.  

Do you have a favorite Argentine horror film or filmmaker? What makes them stand out to you?

Tough call here. I like a lot of them.

Are there any underrated or lesser-known Argentine horror films you think deserve more recognition? If so, why?

No. While Cuando acecha la maldad has received well-deserved attention, I think it is worthwhile looking at other movies. 

How do Argentine audiences typically respond to horror films? Are there any cultural nuances in how the genre is received?

Well, horror is popular in Argentina whether in commercial cinemas or on online platforms. With the exception of Cuando acecha la maldad, there have not been many box office hits. That said, the horror community in Argentina is solid. There is a film festival, Buenos Aires Rojo Sangre, that shows a number of genres, including horror. The festival is always a success and draws a lot of people.  

What do you think the future holds for Argentine horror cinema? Are there any upcoming films or trends you’re particularly excited about?

Tough call. Right now Argentina is passing through a difficult political moment in which it is not clear how the filmmaking industry will be affected. Before now, it was difficult for Argentine films to compete with films made by multinational corporations and who have marketing budgets that far exceed that of Argentine film production companies. With cuts to government budgets already happening, again, the future is uncertain. Nevertheless, people will continue to make movies.

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