According to the UN, we are witnessing the worst humanitarian crisis of the century. This situation becomes even more serious when it involves the displacement of children. The United Nations Children s Fund (UNICEF) states that conflict, violence and other crises have left a record 36.5 million children displaced by the end of 2021, the highest number ever recorded since the Second World War. This total does not include those displaced by natural disasters or climate change, as well as those newly displaced in 2022 by the Russian invasion of Ukraine. Faced with the disorder in the international situation, multilateral organizations, responsible for managing precarious lives (Butler, 2018), more than ever need to raise funds to implement assistance projects and programs for this population through public awareness. This study chose as its analytical object campaigns by multilateral organizations – the United Nations Children s Fund (UNICEF), the International Organization for Migration (IOM) and the United Nations High Commissioner for Refugees (UNHCR) – broadcast on the YouTube platform, whose theme focuses on children in forced displacement. Based on the analysis of four selected film productions, we sought to investigate how the child/childhood, in the context of refuge, is represented in interface with the hegemonic grand narrative (Lyotard, 2009; Shoshana, 2013) which, by essentializing and normalizing it, produces dichotomies that separate what is in or out of place, bringing important consequences for the imagination and management of childhood in such a context. In the case of film productions, word and image come together in the construction of meanings about both childhood and the migratory process itself, generally erasing macrosocial aspects, under the aegis of humanitarian language. In order to shed light on such questions, we make use of analytical categories from Narrative Analysis (Labov and Waletsky, 1969 and Labov, 1972; Bamberg and Georgakopoulou, 2008; Bastos and Biar, 2015; Bucholtz and Hall, 2005) transposed to the multimodal context (Kress and Van Leeuwen, 2006). In addition to problematizing certain representations that reinforce stereotypes (Bhabha, 2006, 2009; Chouliaraki, 2006, 2010; Tabak e Carvalho, 2018, among others), the analysis sought to identify the processes that produce different affects between spectators and those represented. The ambivalence of the essentialized victim, which generates pity and/or fear, solidarity and/or repression, is at the heart of the issue of refugee representation (Chouliaraki, 2006, 2010), and the image of the child, in addition to being intensely exploited, is now increasingly disputed in the transnational donation market. At the same time, in the interweaving of theories of visuality (Sontag, 2003; Chouliaraki, 2008, 2010; Rancière, 2014; Lenette, 2017; Butler, 2018), we sought to reflect, based on the data, on the limitations, challenges and tensions inherent to the representation of those who suffer, while shedding light on the protagonism and resistance that echoed in the voice and image of children in the micro space of representation.