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This paper examines how the sublime aesthetic combines with science fiction tropes to articulate estrangement and dislocation in Hugo Santiago’s film Invasión (Argentina, 1969). The dystopian tones, alienating landscape and unstoppable invaders featured in the film resonate with Burke’s negative sublime, while a Kantian approach to Invasión provides grounds for discussion of the film’s cognitive effect on the viewer. A close examination of the cinematic text reveals the manner in which its dystopian tropes cross over into the horror genre to comment on politics and history, while also highlighting the limits of representation.