It's proposed an exercise about the memory of resistance against dictatorship in the Brazilian contemporary documentary. Monumentalization and intimacy are the guiding notions of the analysis of Hércules 56 (Silvio Da-Rin, 2006) and Diary, letters, revolutions (Flavia Castro, 2010). In the case of the first film, it's suggested that the standards of interview-oriented documentary, striving for cohesion, establish a monumental and conciliatory memory. Regarding the second film, the analysis proposes that the intimate perspective, full of hesitations, might indicate the permanence of gaps in the Brazilian democratic conciliation. The contrast between celebratory and introspective memories emphasizes the critical needs around present impunity.
documentary; memory; resistance; dictatorship; monument; intimacy