Abstract
In 1930, Victoria Ocampo imagines a film project together with Sergei Eisenstein, but the film will never be realized. During the 1930s, the literary journal Sur will distance itself from an idealized perspective on the Russian Revolution in order to align itself with the Good Neighbor Policy implemented by Roosevelt. Although the writer and the filmmaker keep up a cordial correspondence, Ocampo will reshape the initial project until it becomes something completely different, more in tune with the political position adopted by her journal in the 1940s. The ups and downs of this impossible film give a glimpse of the changing relationship that Ocampo and the writers of Sur had with cinema before the advent of Peronism.