This chapter leaps to Cuba—home to the talented and internationally acclaimed Sara (Sarita) Gómez, born in Gaunabacao, Havana. On July 1974 Gómez passed away at the age of thirty-one as a result of the chronic asthma with which she had struggled since birth. Gómez’s 1970 definitional-oriented articulation of Documentary was given in an interview with Pensamiento Critico (Vol. 42, July 1970) entitled “Los Documentalistas y Sus Convicciones” (“The Documentarians and Their Convictions”). The chapter studies this article in the context of the awakening of a Latin American voice in filmmaking, cinema studies, and politics. Gómez begins her manifesto-like enunciation with eleven premises on cinema. She then focuses on the unshakable bond between a filmmaker and her audience, to which the chapter refers as her “definitional moment.” In her closing words, she has this to say about Documentary: “A cinema that is capable of expressing contradictions and with an aim to help make all of us capable of considering life as an eternal conflict against mediocracy, a conflict that we must win. Is this too ambitious? Can we do it? This must be our aim.” I ask: “Is Gómez a blind, fanatical revolutionist, drowning in wishful thinking, and hence utopianizing Documentary?” The chapter attempts to provide a picture of her definiens that suggests a different perspective, one of sheer striving toward Documentary arête.