After an accident that leaves him paralyzed, a man drives his wife towards infidelity.

Tucumán, Argentina, 1965. Three years before George A. Romero's Night of the Living Dead was released, director Ofelio Linares Montt shot Zombies in the Sugar Cane Field, which turned out to be both a horror film and a political statement. It was a success in the US, but could not be shown in Argentina due to Juan Carlos Onganía's dictatorship, and was eventually lost. Writer and researcher Luciano Saracino embarks on the search for the origins of this cursed work.

The attractive, exuberant and beautiful Flor Tetis Soutien de Gambeta (Isabel Sarli), an ostentatious woman who kills men, has just been widowed for the eighth time. All her fortune was fading little by little and she now she is about to be ruined. But suddenly he sees her good luck reappear: A little canillita (newspaper seller), Pepe Mangiabróccoli (Pepe Marrone), with a good heart, who suddenly becomes a millionaire by earning the prode and falls in love with her.

1964 film by Armando Bó

1968 film by Armando Bó

After the death of the village pharmacist, his widow Lina only inherits debts that he must face. Valentin, the old shoemaker, is the main creditor and the exuberant Lina must pay him what he owes, whatever it costs.

Ansise is a former Indian whose only dream is to become a mother. The idea of motherhood gradually turns into an obsession for her. Unfortunately, she has married an impotent man. But she tries to get pregnant anyway. She even tries to work as a prostitute and goes to a local witch. But the real problem is that an evil entity called Pombero has fallen with love with her, killing all the men crossing her way.

Deep in the jungle, a drifter attempts to inspire revolt against his cruel boss’s slave labor practices, made more difficult by the arrival of the boss’s beautiful wife.

A girl falls off a yacht and finds herself lost in the jungle where she is discovered by the natives who are thoroughly entranced by her beauty

Based on the remains of never-completed Argentine features from the archives of the film museum in Buenos Aires. The film is, as it were, a parallel film history: an essay like a cinematographic Frankenstein, that blows new life into images that once seemed unsuccessful and pointless.