This article addresses the critical approaches to the film Invasión (Hugo Santiago, 1969). It posits that the interrelation between the contributions of different theorists of modernity and coloniality, and the análisis of Las Veredas de Saturno, 1986––a sequel of Invasión–– allows for researching the way the debates about the system of hegemonic domination and oppressed alterities are reflected in the aesthetic discourse of Santiago's opera prima.