This work aims to study the films Un muro de silencio (A wall of silence) by Lita Stantic and Albertina Carri’s Los rubios (The blond people) released in Argentina respectively in 1993 and 2004. The present analysis shows how the cinematic resources used by the directors engender multifaceted monstrous hybrid visual forms. Mirages in the case of Stantic and doppelgängers for Carri, these resources represent the complex and multiple identities of the families of the dissapeared during the dictatorship in Argentina.