| Summary: | This article aims to analyze the film Ônibus Linha 174 (José Padilha, 2002) as another interpretation of the episode narrated and commented based on a variety of texts. The film is a documentary, which was produced by Jose Padilha (also director) and Marcos Prado, photography by Cesar Morales and Marcelo Guru and editing by Felipe Lacerda. The film focuses on urban violence, but this article discusses other issues, avoiding the repetition of what has already been said by great experts and even ordinary citizens. This film, the foundation of my research, is the guideline to the reflection that I propose, since the focus of my analysis the main character of two parallel stories narrated in the film: the young Sandro Rosa do Nascimento, who becomes an archetypal figure in the social context of stories, scenarios and the testimonies shown by Padilha. As the discussion progresses, another important character for the analysis emerges: Sandra Mara Herzer (1962-1982), a young woman whose life trajectory allows me to compare the two aiming to understand how these two characters who report a serious context that causes the multiplication of a series of other stories similar to theirs. It is unquestionable that, although both have achieved international visibility, there is a multitude of invisible Sandros and Sandras, living in the streets and "caregivens" institutions for children, going through the same stages of this monstrous metamorphosis that led them desperation in the final scene of their short lives.
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