Following the success of their feature debut Jennifer’s Shadow (2004) – an exercise in American Gothic set in a scary land called Argentina – Pablo Parés and Daniel de la Vega worked for a US company on a post-mega-disaster wasteland zombie film in which South America had been turned into an all-purpose, all-materials junkyard, with the undead as the last humane entities around (forget about the humans here!).　　The project never materialised, but Diego Parés, Pablo’s brother, started to write and draw a comic series based on the screenplay – which so far remains a ruin, as only parts were finished and published. The ECish beauty and balls of Diego P.’s labour of love have now been congenially transformed by the directorial duo into a delightfully old-(1970s)school low-budget production, closer to Romero and Dante than Fulci and Lenzi. And the IFFR audience is in for the treat of treats they get to see the film and can also enjoy the unfinished comic in an exhibition.

　　纯洁的特蕾西在陶尔哈姆莱茨区的宗教家庭长大。她准备充分发挥自己的潜力，而第一步便是脱离处女。特蕾西（Tracy）生长在陶尔哈姆莱茨区一个宗教家庭中，这个地方以其保守的价值观和严格的道德规范而闻名。她被教导要保持纯洁，遵守宗教信仰的规定，并将自己的潜力发挥在奉献于教会和家庭中。然而，随着特蕾西逐渐成长，她开始意识到自己身上隐藏着一种无法抑制的渴望，即追求个人独立和探索自身的性和情感。她意识到，为了实现自己的理想和发挥潜力，她需要脱离处女的束缚，探索更广阔的世界。特蕾西为此做了充分的准备。她开始秘密地研究有关性教育、人际关系和个人发展的知识，并与亲信的朋友们进行深入的讨论和交流。她了解到性是自然而健康的一部分，而不应该被视为污秽或羞耻的事物。特蕾西也开始思考自己对宗教的信仰和家庭的期望。她意识到，追求个人独立和性解放并不意味着她要放弃自己的信仰，而是要找到一种平衡和和谐的方式。她决定保持与家人和社区的联系，并尊重他们的信仰，但也要为自己的成长和探索留出空间。终于，特蕾西做好了准备，迈出了脱离处女的第一步。她选择了一个合适的伴侣，一个能够理解和支持她的决定，并且尊重她的价值观和信仰。他们一起探索彼此的身体和情感，以建立一个健康、相互尊重的关系。特蕾西的脱离处女并不仅仅是关于性的行为，它代表着她对自身的认知和接纳，以及对成长和发展的勇气。这个过程使她更加自信和坚定，她开始逐渐实现自己的潜力，并在人际关系、职业发展和个人成就方面取得成功。