Uruguayan shot-on-video horror maestro Ricardo Islas embarked upon his career as a director at the tender age of sixteen, when he convinced the program director at his small local TV station to produce a short film he had scripted titled Posesión. Eight years and five feature-length SOV productions later, Islas had worked his way up to a budget just scraping the underside of one thousand dollars for Plenilunio (translation: Full Moon), a distinctive, DIY take on the werewolf genre.
Roberto and the kids take shelter in the offices of the TV station, which is deserted for the holidays, only to find that the albino stranger has followed them. After cutting off their communications, he stands vigil outside the building, killing anyone who attempts to leave or enter, all the while awaiting the arrival of the night and the full moon, when he will make his transformation and easily break through the feeble barriers that the kids have set up. Throughout this grueling standoff, Roberto –- fully stepping into his role as protector, and drawing upon presumably heretofore unknown reserves of courage to do so –- repeatedly tries to reason with the killer, pleading with him to let the children go. But this isn’t going to happen, for, as the wolf at the door explains, it simply isn’t in his nature to do so. And besides, he’s “hungry”.
Islas’ own site self mockingly boasts was “hand-made out of sponge and cotton” -- is almost too overwhelming to resist. But, since the director himself chose not to reveal it until the film’s final minutes, I feel to do so would be in defiance of the whole spirit of the endeavor. More importantly, I think that, while we all might get a lot of cheap mileage out of mocking such a shabby creation -- this is the internet, after all, and we’re all well practiced at it -- I fear that to get caught up in doing so might come at the expense of registering the many real charms that Plenilunio has to offer. In other words, this is one that’s well worth seeing for yourself.