| Sumario: | The article examines the relationship between cinema and the concept of "the people," exploring how film can articulate and shape collective identities within the context of political theory. It engages with the ideas of Gilles Deleuze and Ernesto Laclau, emphasizing that cinema not only reflects but also contributes to the invention of the people, particularly through the lens of folk cinema. The analysis contrasts two films: Bill Douglas's *Comrades*, which portrays the collective experience of the Tolpuddle Martyrs in the UK, and Nadir Bouhmouch's *Amussu*, a collaboratively made documentary about the Imider community's resistance in Morocco. The article highlights how both films utilize montage to express the complexities of collective identity, while also addressing the inherent tensions and ambiguities surrounding the notion of the people in film studies.
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