| Summary: | Art and politics, from contemporary studies, are seen as inseparable, and take place on the same points: in form and / or content, or both. In this sense, we propose the analysis of the medium-length film Manhã cinzenta, by Olney São Paulo, produced in 1969, which is one of the most significant films of resistance to the 1964 civil-military dictatorship, but it is also a kind of metaphor for the life of the self filmmaker, being a wound in his own body shattered by torture. For our reading and analysis, we start with the contemporary assumptions of Marc Ferro (1978, 1992) and Robert Rosenstone (1996, 2010) that films and film archives can overcome the absence of traditional official documents, Their discourse, being, therefore, in Derridian sense, supplementary for the historiographic construction, being able to be sources for the understanding of historical contexts and events.
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