Having the trilogy As mil e uma Noites: O inquieto (Vol. 1), O desolado (Vol. 2) e O encantado (Vol. 3) [Arabian nights: The restless ones (Vol. 1), The desolate one (Vol. 2) and The enchanted one (Vol.3) directed by the Portuguese movie maker Miguel Gomes as a starting point, this research aims to analyze how his work deals with the editing process as a tool to think over political issues in Portugal. From Didi-Huberman perspective, the editing as a thought-building practice will be dealt as beyond a mere phase of the movie production. At this point, reflections can be made on what extent the usage of heterogeneous elements, such as the use of the book as a narrative device, the setting, the choice of actors and non-actors, and the shuffle between reality and fiction, films can produce dissent (as in Jacques Rancière) and, as a result, leading to reflections about the relationship between aesthetics and politics. The hypothesis is that these pictures have their take on certain concrete places by rebuilding them inventively, thus enabling a modulate space in which the collective sphere has an effective weight able on tensing the established power relations.