Alejandro Amenábar's first international co-production, Los otros/ The Others poses the question of the translatability of generic formations and the elasticity of the concept of national cinema. This chapter explores the ways in which contemporary Spanish directors, but Amenabar in particular, have evolved their nationalist concerns into generic hybrids or into revisionist generic arrangements. These arrangements emphasize allegorically and metaphorically the Spanish contexts of cultural and political isolation, tradition, Catholicism, repression and motherhood. The classic horror film is almost always a tale of repression in its latent content. Ismail Xavier's approach can help us understand the intersection of horror and allegory in Spanish cinema after 1970. Los otros denies the apparent safety inspired by the destruction of evil in the classic horror film. The emphasis on children serves perhaps to offer the promise, or simply suggest that history can still be remade and rewritten.