IntroductionThe incorporation of Latin American economies into the process of globalization that emerged in the eighties, and the consequent hegemony of neoliberalism, brought about a crisis in national identities. The deindustrialization process engendered massive unemployment and a clandestine economy; the decline of the welfare state triggered exclusion, poverty, and crime; migration altered the composition of the ethnic mosaic and gave rise to the growing legitimization of minority identities; freedom of choice, centered on consumerism and pleasure, now also extended to sexual diversity. One manifestation of these changes in the continent's cinemas has been the increasingly frequent appearance of Jewish narratives and characters in movies intended for the general public and the global movie market. These films represent their countries of origin in international festivals, and also take part in the Jewish film festivals held every year, attracting a wide audience that is not exclusively Jewish. The trend is indicative of the reconstruction of a white ethnicity, almost invisible on Latin American movie screens until three decades ago, with particularities that allow for the analysis of possibilities and limitations for the representation of cultural diversity. Thus Jewish experiences as represented in movies become, from my perspective, a testimony to the processes of multiculturalism.This article will analyze the movies Cinco dias sin Nora (Nora's Will), directed by Mariana Chenillo (Mexico, 2008), and El brindis (To Life), directed by Shai Agosin (Chile, Mexico, 2007), based on the premise that film texts are aesthetic testimonies to cultural processes taking place in the societies in which they are produced.1 If we consider the characters' presence in the public space, and the representation of traditions and rituals, we arrive at the conclusion that these movies construct the cultural difference, and the subaltern identity's alterity, by negotiating the legitimacy of Jewish religious rites in the face of each country's hegemonic identity, while the presence of the characters in the public space is a testimony of certain ethnic minority conflicts in the national context.Alterity and ContextThe sociopolitical crises unleashed by the modifications carried out for the inclusion of national economies in the process of globalization, in addition to the ideological hegemony of neoliberalism, brought about changes that compelled national identities to adjust to the new circumstances. Barriers were lifted so that goods and capital could circulate freely; however, this created deindustrialization, which in turn generated population displacements from remote areas to the cities and between different countries on the same continent, as well as migratory flows to and from Latin America. Consequently, certain groups, previously excluded or newly arrived, gained visibility, such as indigenous peoples in Mexico and Chile, or Bolivian, Paraguayan, and Asian immigrants in Argentina. Thus the Other- ness of Jews, who in the past had been represented in literature as a transcendent alterity whose significance emerged from circumstances and context, seems to diminish and become integrated.2In societies in which whiteness is hegemonic-like the United States, Canada, and the United Kingdom-there are highly segregated groups suffering from racial marginalization, including African Americans and other people of color. In contrast, the segregation of Jews in these societies is mostly attributed to the community's own desire to preserve a distinctive identity, and only to a lesser degree to the impact of anti-Semitism. Studies centered on the discourse may describe the Jewish identities in Latin America as the result of a permanent struggle against discrimination and the exclusion engendered by anti-Semitism; on the other hand, sociological studies that examine the insertion of Jews into the social structure may conclude that they fall within the white category. …