The Mutant Screen emerges as a patchwork of forms in erratic sociotechnical interdependence, like creatures in perpetual transformation excavating late Francoist cinema, dislocating, rewriting and remediating it, transforming it into a coven of insurrections and disobedience to the ontological impositions of what counts as one (or not), what is accessible to the gaze or what is contorted as a body. The fantaterror of the 1970s and 1980s is no longer a two-dimensional gallery of monsters and dismembered bodies and has become a broken canvas where the queer and the trans*, the dissident and the oppressed, find cracks through which to seep, vectors through which to expand.