The explosive emergence of a new kind of Chilean cinema in the mid-2000s opened a discussion about its sources, motivations, narratives, and aesthetics, which has focused its efforts on the construction o f a canon of contemporary Chilean cinema (Novisimo (newest) Chilean cinema, centrifugal cinema). This paper seeks to explore an alternative approach, establishing a division between a corpus of films that have international recognition and high circulation in festivals and a group of films less visibilized films that, in a sort of "termite" operation, stress and undermine the intentions of instituting an official canon of Chilean cinema.