Retrospectives of feature films and documentaries, presented at the Moscow International Film Festival, are regularly reviewed in the journal “Latin America” and reflect the main tendencies and the contemporary state of filmmaking in the region. The article offers an analysis of Iberoamerican cinema as it appeared at the 41st MIFF and gives an overview of the festival successes of Latin American movies during several decades. Given the obvious shift at the MIFF towards the Asian region, the spectrum of out-of-competition Iberoamerican works was fairly diverse. The film “Asfixia” by the Mexican director Kenya Marquez is characterized by a feminist approach; it raises the problem of social and domestic violence against women in contemporary Mexican society. “Nadie nos mira” by Julia Solomonoff displays a mixture of drama and comedy typical for mainstream Argentinean cinema and narrates the story of an unemployed actor, touching upon relevant questions of LGBT. “Todos somos marineros” co-produced by Peru and the Dominican Republic deals with various aspects of emigration and nostalgia with the help of Russian actors playing the leading characters. Particular attention is given to the analysis of two Latin American films “Pájaros de verano” by Ciro Guerra and Cristina Gallego (Columbia) and “Rojo” by Benjamin Naishtat (Argentina). “Pájaros de verano” is an epic saga of the family of Wayuu Indians, whose life and demise are inseparably connected to Columbian drug trafficking. The film “Rojo”, which combines the genres of drama, detective story and thriller, uses various images and symbols to evoke the atmosphere of the mid-70s on the eve of the military coup in Argentina.