This paper deals with the relationship between sound and image as expressed in the cinematic genre of music documentary. In particular, it tries to explore the way in which musical cultures are audiovisually expressed through filmic representation of music performances and artists/groups portraits. By applying a critical and comparative approach, the films Buena Vista Social Club (1999) and Café de los Maestros (2008) become vehicles to investigate images and sounds of music in everyday life, with an emphasis on the impact of globalization and commercialization during their creation and interpretation procedures. The focus is on the commercial exploitation of these films in the context of world capitalism and the way in which it influences the construction of visual representations of non-European musical cultures and identities, as cultural industry shares today a comparable postmodern situation through the concepts of “world music” and “world cinema”. In this light, the paper discusses Latin American (Cuban and Argentine) identities and local music cultures which spread internationally via films and gain a place in the global music scene. Consequently, it points towards issues of authenticity, nostalgia, exoticism, hybridity, folklorization, and the Western domination upon musics as well as films.