A number of contemporary lmmakers, both in Colombia and in other Latin American countries, have explicitly stated their disinterest in what they themselves call "political cinema".With this apparent declaration of principles, they seem to be distancing themselves from previous generations for whom each lm implied a commitment to the representation and transformation of reality.Some directors have de ned themselves as "'neutral" in political terms, even when their work directly addresses issues concerning the social and political realities of each country.e intent of this essay is to examine what this supposed neutrality consists of, from where it is derived, and what are its dangers.rough an analysis of the concept of childhood in the lm Los Colores de la Montaña ( e Colors of the Mountain) (2011), the author a empts to show the lm's political dimension above and beyond the director's intentions of neutrality, so as to highlight the importance of political thinking in lm, apart from identifying with ideologies and taking sides.