The Latin American film projects of cultural decolonization in the 1960s and 1970s used to dialogue with the vernacular traditions while were beginning aesthetic changes in the national cinemas. The movies and the theoretical manifests of this period have been characterized by the refusal of the universal values of the aesthetic Eurocentric models. Affected by Fanon, filmmakers such as Glauber Rocha and Cine Liberación group have denounced and have resisted the North American and European cultural penetration. The uncritical incorporation of occidental cultural values has been seen as an “imperialist” imposition supported by the national bourgeoisies. In Argentina, the cultural penetration has been described by Cine Liberación in The Hour of the Furnaces (1968) as a “monstrosity dressed like a beauty”. Moreover, Rocha has assigned the nature of monstrosity to the assimilation of the occidental aesthetic norm: “official monsters of the culture”. According to Rocha and Cine Liberación, the “monster” also is the “imperialism” and the national oligarchies. In both cases, there is an inversion of the nineteenth oligarchic speeches that used to stigmatize the “other” – that means, the mestizo, the black people or the indigenous – as a wild or an uncivilized. In the other hand, these filmmakers have claimed the identity of themselves as the “other” or the “monster” of the hegemonic speech.