In a tropical gothic horror that declines to stay put in time, Susan Roces plays a movie queen revisiting the role that made her. A film crew moves into the heroine’s ancestral mansion. The haunting that follows is not supernatural in origin; it is architectural. The house was built on plantation economy, on tenants who owned nothing, on women who were exchanged. It produces Rodrigo—the cruel possessive man—because it was designed to. The title rings in several directions: to the heroine, to her reincarnation, to a cinema tempted to sleepwalk through its own myths.