The New Latin American Cinema has been traditionally defined as a political cinema committed to the transformation of the social conditions that characterized Latin America in the 1960s. The notion of revolution has been placed in the core of this movement. Deeply influenced by the Cuban Revolution in 1959 and by several political movements throughout the continent, a group of filmmakers proposed an aesthetic transformation of what they described as a colonized culture. Our aim in this essay is to explain what these filmmakers understood by a cinematographic “revolution” that could be the condition for a broader political and social transformation. It is not our intention to stand up for the concept of revolution in the New Latin American Cinema, but to try to avoid the stereotypes around this concept and to understand what this notion involved within a particular context.