As neoliberalism cracks across the Americas, the original calls for insurgent and didactic modes of cinema require reconsideration beyond their origins in the atmosphere of the late 1960s. While 20th-century techniques of vertically organized rebellion were often useful, contemporary scholars focusing on the prism of indigeneity have highlighted the European origins of class analysis and the need to theorize the political potential of non-European political philosophies and modes of thinking/organizing. As such, the figure of the “nomad,” who exists outside of European categorization and thrives in unfamiliar epistemological territory, has been revealed to be a privileged position in social change and particularly useful in understanding the relevance of indigenous metaphysics to contemporary politics.  As such, this paper draws out particular continuities and contrast between Marxist Latin American Cinema of the 20th century and contemporary Indigenous Cinema, utilizing the nomad as a mode of interpreting the relationship between these two strains of radical thought and their respective theories of aesthetics and politics.