Following a method that its authors compare to an alchemical process, Satoshi Fujiwara and Alexander Kluge’s visual essay Werewolves Playoffs activates an experimentation that crosses the boundaries between cinema and photography. Actions of aggression, isolation and accumulation of images create a new narrative that invests the notions of time, speed and transformation. In the video essay the images are decontextualized, deconstructed and stratified to create a dark atmosphere far from the standards of traditional cinema. Their work is the result of a long-distance collaboration that sees Fujiwara tries to experiment the video format for the first time, reworking original elements and films by the German director.