In this article I analyze the music of composer George Andreani for Argentine and Chilean cinema. By reviewing the available filmography, it is possible to distinguish a series of strategies and resources that, for the most part, were part of the conventions of the classical Hollywood scoring model and the cinemas that followed that referent. This paper seeks to elucidate how Andreani used these resources and applied them in his work as a film composer both in Argentina and Chile. The theoretical framework that sustains this research is inscribed in the field of Film Music Studies, both its foundational referents from the Anglo world and the most recent works focused on Latin America. This conceptual apparatus is intertwined with testimonies of composers and critics, as well as a detailed musical analysis. The work includes the transcription of a series of pieces composed or arranged by Andreani. This study shed light on the different aspects of the work of musical composition for classical cinema in Argentina and Chile: what were the requirements of the film companies, what they sought to communicate with the music and how composers materialized all these needs.