Scholars have debated Esteban Montejo ever since the publication of Biografía de un cimarrón (1966). This article analyses hitherto unexamined documentary records of Montejo’s participation in Cuban cinema, which illustrate how Montejo and cinematographers mutually constructed narratives of slavery, revolution and African-inspired death. Studies of Cuban revolutionary cinema have barely investigated the role of ‘informants’ in the process of film production, as most scholars continue to place film directors centre stage. This article shows how social actors engaged in memory work to shape the structures of Cuban history within an ‘audiovisual interface’. It takes its cue from scholars who have highlighted how Black Caribbean subjects engaged with the means of historical production, arguing that Montejo historicised his experiences with the archival tools of the revolutionary state but beyond a politics of national liberation.
