The modern times of Central and South America were completely different in comparison to, for example, political and social breakthroughs in Europe. But looking for similarities, one might find comparable ideals concerning aesthetics: A movie must be visionary andshould, most preferably, look at a countries history from different perspectives, add a pinch of science fiction and a bit of horror and a lot of fantasy. Favorably would be to recognize roots in the region’s syncretic religions in an educational and informative way but in a sensual and cheery manner. All of this, sometimes came out to be a sceptically surreal essay movie like Rubén Gámez’ LA FÓRMULA SECRETA (1965) or a cinematic drug trip like Glauber Rocha’s A IDADE DA TERRA (1980) and sometimes even a lean and efficient piece of genre movie like Gustavo Mosquera R.’s cult movie MOEBIUS (1996). The following small variety, developed from a cooperation with the exhibition “Dark Mirror” at the Wolfsburg Museum of Art, shows us an outline and offers examples for the art of movie making: From avant-garde to genre cinema. Olaf Möller Cooperation with the Wolfsburg Museum of Art (Kunstmuseum Wolfsburg) and the exibition ”Dark Mirror. Lateinamerikanische Kunst seit 1968”