The act of observation from a moving point deforms reality. In this case, the moving point is a train that runs at high speed through space, creating a visual effect that resembles the erasures of a deteriorated film. But the train also manipulates the image differently, offering a merger between what is observed and the reflection of the observer. This merger also includes the sounds and the narrated text, as well as archive footage of the wolves that give its name to the film, leading to an uncontrollable desire of fiction by the spectator (from Rudyard Kipling’s initial quotation to the train of the Lumière brothers). Is this hypothesis that suggests a metacinematic reflection? As suggested by Edgar Morin, can the train be a mere metaphor for cinema as a technological apparatus invented by man and that sharply transforms nature, tearing and destroying it? This film represents the debut of Miguel Ildefonso at Curtas Vila do Conde. (PC)