With this ringing affirmation, Julien Bryan concluded Americans All, his first documentary about Latin America produced under the auspices of the Office of the Coordinator of Inter-American Affairs (CI-AA) as part of the U.S. government's effort to foster hemispheric solidarity. By 1945 he had completed twenty-two more, including four on Latin America as a region; five on Chile; three each about Peru, Bolivia, and Uruguay; and one each concerning Argentina, Colombia, Venezuela, and Paraguay. The CI-AA distributed the films to thousands of U.S. schools, clubs, and organizations during the war. After the conflict was over, they continued to be the standard educational films about Latin America until, by the 1960s, damage or obsolescence forced most prints out of circulation. For the historian, however, “obsolescence” is not an undesirable quality, and a careful screening suggests that these thirty-year old documentaries contain an extraordinary visual record of Spanish South America and provide insight into inter-American relations. The purpose here is to assess the value of Bryan's twenty-three films as historical evidence, based on an analysis of the narration and photography and taking into account the special nature of film as a source material.