National cinema is a resource of images of Chile, which appeals to massive public in order to enable the watching and recognition of themselves in it, and the imaginary conformation of a ‘we’, in an historic moment with a notorious lack of senses related to nationhood. We approach to commercial cinema as a form of symbolic production and a mean of representation and diffusion of specific social imaginaries, which contributes to the construction of a hegemonic imagination, revitalizing or promoting preexisting images, icons and texts about ‘we’ and ‘the others’. The reflection focuses on how the image of the nation is reinterpreted in some of the films that are part of the so called ‘boom’ of Chilean cinema of the last years. This phenomena is related to a major reception of Chileans productions by the critics and the public, and to the new ‘culture-supporting’ State. Because of these reasons, Chilean films have become more relevant as a representation of some ‘versions’ of being Chilean, specially those that link nationhood to popular culture. This is the main referent of most part of Chilean movies that became a commercial and critical success in the last few years, conforming the visible elements of our social and cultural environment, and the most important cinematic image of our nation.