Desposesión y desencanto del espectro contemporáneo: el fantasma en I Am a Ghost (2012), I Am the Pretty Thing that Lives in the House (2016) y A Ghost Story (2017)

Ghosts have invaded the film screen since the very beginning of cinema. They have become icons of otherness showing different degrees of visibility, always representing an intrusion from the margins of the excluded, like an ominous force that impels us to solve their enigma in order to neutral- ize their threatening presence and, thus, restore the logical and quotidian order. The postmodern