With "Dracula", I wanted to revisit a familiar myth and strip it of romanticism, placing it within a contemporary landscape shaped by capitalism, exploitation, and historical amnesia. The figure of Dracula becomes less a creature of fantasy and more a metaphor for systems that drain, consume, and reinvent themselves. I approached the material with irony and fragmentation, blending genres and tones to expose the absurdity beneath national myths and cinematic tradition. The film moves between satire and reflection, allowing contradiction to remain visible rather than resolved. Ultimately, the film suggests that the true horror is not supernatural, but structural — embedded in the narratives societies choose to preserve and the ones they prefer to forget.