This work presents some results of a semiotic research based on La langosta azul’s film text (1954). In this communication, we explain how this short enunciates a possible world that persuades about Colombian Caribbean’s ethos. We establish how the movie’s visual discourse, focusing on those narrative moments that work as positioning and repositioning shots, proposes a representation that mediates between the past and the present, with critical humor and even ethnographic-enunciation elements, to create an axiological complex that enriches the understanding of Colombian-Caribbean society. The visual device is, then, an identity feature's mediator of this society, typical of the time of production of the cinematographic object, but also of the current circumstances in which this national cinema’s cardinal work is preserved, disseminated, and interpreted. The analysis is based on narrative semiotics and cultural practices. Thus, the intrinsic configuration of the representative film’s shots is examined, but also practical elements constituents of the ethos that manifests forms of life. It is established that this filming representation corresponds to an example of survival tactics’ implementation, even opportunistic, of the sociocultural universe represented, but also as a condensation of the way cultural (pre) discourses survive, persist and persuade, even in the present we interpret this film text.