This work seeks to reflect on the tools used by the filmmakers when constructing the aboriginal in their film stories. For this purpose the film Archipiélago from the cinematographer Pablo Perelman was analyzed, in which we find the mechanism of the image transfiguration as a film tool for visual construction.

In Archipiélago a scene is shown that recreates an old film, made by the priest Alberto María De Agostini. The recreation of these images, does not constitute a transfiguration in itself, but it does in the fact that they are linked in a film plot that fulfils a function in the story. The conclusions drawn from the application of the model developed by Gombrich, which includes the artist, his/her work and the spectator, revealed the elements that intervene in the construction of the aboriginal image, transfiguring it in its sense and form.