Helvio Soto had a strained relationship with his fellows, filmmakers identified with the New Chilean Cinema at the end of the 1960s. In the following years he shot three fiction feature-length films about the Popular Unity. The first and the second ones seemed to put some distance from his colleagues committed to Salvador Allende's government because they exposed some of its contradictions. However, this distance was only apparent, and was due to a political intention to reach another audience. Similarly, the objections that Soto's work provoked came from his formal experimentation, which created a tension between the territories of fiction and documentary cinema.