In the summer promiscuity of a seaside campsite, a trio of teenage girls spies on a depressed seasonal worker who disguises himself as a bear to be the campsite mascot. Their imaginations, stimulated by the chilling story of a child abduction that occurred a few decades earlier, lead them to believe that something fishy is going on around the man. Between documentary exploration, coming-of-age story, thriller, and fairy tale, Lluís Galter blends narrative registers in the summer torpor to construct a singular, seductive, and unsettling object. Spying through the window, ears glued to the doors, insistence on empty spaces: sometimes voyeuristic, sometimes detective, the camera's eye casts doubt on the seemingly innocent motifs of a holiday imagery of campsites dominated by the specter of child disappearances. End-of-day showers, beach sessions, card games… Doubling the disturbing strangeness of this succession of motifs, the epidermal style of DV Pal delights in contact with tanned bodies, merges bare legs and tall grass, drowns in its pixels the nocturnal silhouette of a lost child. To the ear, the Prelude to the Afternoon of a Faun enchants everything, until the overexcited cries coming from the campsite pool abruptly interrupt it. The marshy surroundings invite nighttime outings transformed into explorations of a hostile jungle. The cry of an American bittern becomes the disturbing lament of ghosts buried in the sand, where the missing boy will eventually be found. The synesthetic and fragmented plot of Aftersun is that of a child's dream after a long day of vacation, where discoveries about the sexual lives of adults are intertwined with the naivety of games and chronicles of news items with local legends. It is an organic and strange drift where stories overlap, where teenage girls with overflowing imaginations get rid of their childhood by playing at scaring each other.