How to apprehend what cannot be seen with an artifact that only captures the obvious movement of things? David Oubiña asks himself defiantly. Ceremonies of the invisible proposes to the reader to think of cinema no longer as a device for representation, but as a machine capable of perceiving the limits of experience, where cinematographic images lose their character of transparency to delve into the dilemmas and tensions of the real. In this book, death will be thought of as mass annihilation or as an accident, individual and fortuitous. Both figures, inverted and complementary, are reviewed by the author in two short essays that go through the films Shoah (Claude Lanzmann, 1985) and Ugetsu, tales of the pale moon after the rain (Kenji Mizoguchi, 1953). Death and war are two topics brought together to display reflections on the failure of representation, on images that show little, almost nothing, but that nonetheless