A light emerging from the earth promises discovery—and the possibility of disaster. For the team behind Luz Mala, that tension between fascination and danger is inseparable from the landscape and popular imagination of northern Patagonia.
The Bicharraco Films production follows Fausto, a countryman pulled toward a supernatural encounter despite knowing he should walk away. Based on a story shared by writer Carlos Blasco, the film brings regional folklore into a story about greed, curiosity and our relationship with the land. Its atmosphere grew out of a three-day location shoot, a striking natural soundscape and a deliberately practical approach to the mysterious light.
With Luz Mala selected for JCIFF Presents: Nightmares, producer Silvio Seoane shared the team’s responses with WAJ Magazine. The conversation explores their collective process, director David Aguilera’s collaboration with the team and the commitment behind Robert Yañez’s first screen performance.
The Interview
Why did you choose the Patagonian luz mala legend?
We were drawn to the idea of portraying an aspect of the popular culture of our region—one that brings together elements of everyday life and fantastical or supernatural ingredients within a single narrative. There are many stories, cultural traditions, and practices among local communities that combine these elements, but the legend of Luz Mala is deeply rooted in Patagonia’s collective imagination, both in rural areas and in its cities.
Another key factor in choosing the story was the generosity of a dear friend of ours, writer Carlos Blasco, who shared with us a beautiful piece of flash fiction he had written. The short film is based precisely on that story.
What cultural meaning of the folklore did you most want to preserve?
Two things particularly appealed to us. First, the variety of stories that attempt to explain the origin of the light when it appears. Some attribute it to the souls of the dead who have not received a Christian burial; others believe it is the glow emitted by certain metallic objects under specific conditions; and still others associate it with Indigenous burial sites, among other explanations.
The second is the danger that may come with following the light, as well as the fascination it inspires—a fascination that can make it irresistible.
It is worth remembering that the legend of Luz Mala not only offers an explanation for the phenomenon—the possibility of buried treasure suggested by the metallic objects beneath the ground—but also describes the rituals required to approach it without coming to harm. According to the legend, anyone who encounters the light must mark the spot so they can return during the day and dig up whatever lies beneath the earth. The ways of marking the location vary, but one of the most common is to leave a white handkerchief over the place where the light appeared.
Yet the promise of wealth comes with a darker side. Those who give in to greed may become cursed and bring misfortune upon themselves.
How did the countryman’s encounter become the center of the film?
Fausto is at the heart of the film because he embodies this duality, this inner struggle between sound judgment and greed. He knows what encountering Luz Mala means and what the sensible course of action would be: to walk away and leave it undisturbed. Yet his greed, avarice, and curiosity ultimately draw him toward it, even though he knows the outcome could be disastrous.
How did David Aguilera, Silvio Seoane and the writers collaborate?
From the very beginning, the entire team's approach was highly collaborative. Although our names may be associated with particular roles when the film is presented and distributed, the work itself was truly collective. We worked side by side, moving fluidly between roles and taking on different tasks as they arose.
That spirit of collaboration continued throughout the entire process, including the editing stage. The final film ended up being a very faithful representation of what we had all envisioned for Luz Mala.
How did the desert location shape your cinematography and atmosphere?
It was an extraordinary experience. The location we chose is approximately 22 miles away, accessible only via fairly difficult routes that cross rural properties and oil company land. Because of these conditions, we decided to set up camp near the location and stay there for the three days of filming. Around 20 of us stayed at the camp, and we spent three unforgettable days there.
Equally important was the natural soundscape of our region, characteristic of the shrubland and plateau landscapes of northern Patagonia. It is extraordinary and all-encompassing. There is a kind of silence that presses against your ears, punctuated by the occasional sounds of insects, birds, and sometimes other animals, which can be heard with remarkable clarity even when they are far away. I'm not entirely sure how to explain it, but the experience is truly overwhelming and hypnotic.
This undoubtedly influenced our decisions regarding the film's atmosphere and cinematography. In fact, after exploring several options—including music and text cards—we ultimately chose a sound design that highlights only the natural atmosphere, along with Fausto's groans, footsteps, muttering, and the movements of his mare.
Through this approach, we wanted to capture something of the experience of walking through that landscape and allow viewers to become immersed in the story just as our protagonist does.
What were the greatest challenges in portraying the supernatural light?
From the outset, we decided that the light itself, along with all the other visually complex elements, would be created using practical effects rather than digital effects. This was not simply a matter of budget constraints; it was also an aesthetic choice.
During preproduction, we experimented with different materials and lighting techniques to give the light an otherworldly quality while keeping it believable. We wanted viewers to feel that they were genuinely seeing a light emerging from the earth.
After a lengthy process of experimentation, we achieved the effect using a hole in the ground, lights, a piece of translucent, fuzzy fabric, coarse salt, and smoke.
How did Robert Yañez approach the lead performance?
Robert's performance was truly remarkable to us. As we mentioned in the film's press materials, he is a nonprofessional actor, and Luz Mala marks his debut on screen. The role demanded a great deal of physical effort, horseback-riding skills, and a wide range of acting abilities. The character communicates more through gestures and sounds than through spoken dialogue, which makes Robert's performance all the more impressive. It fills us with nothing but amazement and pride.
Robert is a friend of ours. When we approached him about the role, he accepted without hesitation and threw himself into it wholeheartedly. He had no particular interest in any personal benefits he might gain from the experience. Rather, he was driven by his generous, collaborative spirit whenever he recognized a worthwhile or meaningful cause he could support. We feel deeply indebted to him because he gave himself to the project completely, and we will be eternally grateful.
He immersed himself in the project with absolute dedication and humility. He approached every stage of the process with that same attitude, from embracing acting suggestions to taking horseback-riding lessons—something he had never done before.
Ultimately, his commitment became so profound that he developed a special bond with the mare, his companion throughout the story. That connection extended beyond the screen and touched everyone involved in the production. It was deeply moving.
What do you hope international audiences discover through Luz Mala?
We simply hope they will discover a small part of the culture and popular imagination of our region. Although the story is rooted in a very particular place and tradition, its themes are universal. The legend of Luz Mala, after all, has parallels in other parts of the world, such as the Feu Follet in France, the North American Will-o'-the-Wisp—introduced, as it happens, by French settlers in Louisiana and other southern regions, Brazil's Fogo Tolo or Fogo Fátuo, and the German folklore tradition of the Irrlicht.
We hope the film resonates with audiences on an emotional level and helps them recognize the connections that unite different peoples around the world.
Ultimately, communities with deep ties to their land and surrounding environment, and with agrarian and pastoral roots, are not so different from one another, despite the passage of time and all the changes that have shaped who we are today. What we share is the same essential humanity and our connection to the environment that sustains us.
What is next for the Bicharraco Films team?
For now, we have a full year ahead of us taking Luz Mala through national and international film festivals and film markets. Our goal is to bring the project to as many places as possible and build connections with people, production companies, and potential investors who might be interested in it.
If opportunities arise, we hope to use those connections as a springboard for developing new projects that are already in the works, including short films, feature films, and even video games. These projects combine elements of our northern Patagonian landscape and popular culture with the fantastic and supernatural. We have several ideas waiting to move forward when the right conditions come together.
But for now, rather than getting too caught up in all the possible paths ahead, we want to enjoy the journey and travel alongside Luz Mala, wherever it may take us.
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An official selection of JCIFF Presents: Nightmares. Explore the festival and viewing details.
