| Sumario: | The article examines the role of crowds in early cinema and contemporary political discourse, particularly in relation to the aesthetic politics of films like Spike Lee's *BlacKkKlansman*. It discusses how historical crowd theories, influenced by figures like Gustave Le Bon and Sigmund Freud, shaped perceptions of collective spectatorship, especially in the context of socialism and fascism. The text highlights the resurgence of crowd dynamics in recent social movements, contrasting the liberating potential of crowds with the dangers of mob violence, particularly in light of events like the January 6 Capitol riot. Through an analysis of *BlacKkKlansman*, the article explores how cinematic representations can differentiate between progressive and fascist crowds, emphasizing the importance of crowd choreographies in understanding political assembly and affective dynamics.
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