ABSTRACT
This chapter proposes an alternative reading of the early films of the New Latin American Cinema (NLAC). Rather than focusing on the representation of underdevelopment in these films, the chapter reframes this production through the prism of the process genre. The chapter asks, “Why do process films play such a key role in the history of political filmmaking in the region?” The chapter goes on to address this question largely by exploring the Chilean case, and particularly the work of Sergio Bravo. 1
