This article points towards working out a series of suppositions taken forgranted in relation to what it means to make movies. From its first years,when the idea of cinematographic production was naturalized. This collectiveimage made possible the consolidation of the film industry as art and,at the same time, blocked out possible alternatives of filmmaking. In suchsense, this text wants to, through a series of observations; make visible theideological budgets hiding behind this naturalization of the cinematographicproduction.