The films about the recent past of Chile and Argentina bring questions that lead to the work hypothesis from inside the film and its relationship with the outside. Content that is explained from the context of the film: Is there agreement between the historic and sociologic theme that explained the fall of the military dictatorships and their transition to democracy, with the content of the audio visually told stories? Is the proposed construction of collective memory inclusive? Up to what point is the cinematographic cultural production a reflection of the dominant political processes? It is implicit within these questions a hypothesis: the films could be related to the dominant discourses that turn invisible and/or condemn the various forms of resistance.
