In the contemporary world, our relationship with the world is increasingly our relationship with the mediatization of the image that builds that world. In these circumstances, it will be analyzed what remains of argentinian cinema as an identity category, after the globalization process that swept away local differences from the end of the 20th century, and how artistic productions can contribute to transforming and producing meanings about the world of the 21st century. Heir to this context, we will analyze from the cinematographic aesthetic theories but also from the ideological models, a temporal arc that includes Eduardo Pinto's filmography through Caño Dorado (2009), Corralón (2017) and La Sabiduría (2019). The axis on which to read a decade of cinema and Argentine society will be established in terms of a resource from literature, the "carnivalization" (M. Bakhtin), in conjunction with works that go from social realism to fantasy. The cinematographic procedures (time, spaces and framing) of the scenes where the parties take place in the three films make it possible to glimpse the new ways in which the communities symbolically structured their criteria of truth about the social world, from the category of poor youth to the of empowered women from the struggles of the early years of this century.