This article analyzes the appearance of the people in Cuatreros through its archival work and in dialogue with Peuples exposés, Peoples figurants by Georges Didi-Huberman. It examines how the people emerge as a latent presence within the interstices of archival material and montage strategies. Drawing from concepts associated with the Archival Turn, the article explores how Albertina Carri employs images as surfaces of inscription where the people manifest themselves through forms of uprising and resistance. The analysis focuses on the reuse, resignification, and montage of heterogeneous visual materials, which challenge the authority of the archive and the notion of truth itself. Following Didi-Huberman, the article argues that the people appear in Cuatreros as fragmented subjects, who become protagonists through the reappropriation of archival images. Ultimately, the film proposes an ethics of images as a site of appearance for a people constantly threatened with disappearance.
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