The civilian-military dictatorship and the armed revolt that had an outbreak in Brazil from the year of 1964 on, worked as theme and scenery for a meaningful cinematographic production in the period of a political post-opening marking in an expressive way the culture of the 80 s and 90 s. Through videos produced throughout these years, the memory of the armed revolt was being built, defended and disputed. The creation and the performance of the leftist armed organization marked that year like any other ever did as well as the following years of the dictatorship that had in the support and alliance of vast social sectors one of its major sponsors. The end of the dictatorship announced in 1979, along with the Amnesty and the reestablishment of the democracy marked by the election of Tancredo Neves in the Electoral College in 1985 provoked a profound transformation of values in the nominated 68-generation. The civilian-military dictatorship, the armed revolt, the repression, the exile, the Amnesty, the return to Brazil and the slow, secure and gradual opening are fundamental items of this universe of transformations that will supply political and ideological elements, but most significantly sentimental elements for the ones that enjoy the history of the construction of those memories. Based on that, the theme of this paper comprises the analysis of two important movies: Que bom te ver viva (Lúcia Murat, 1989) and O que é isso companheiro? (Bruno Barreto, 1987). Each movie analyzed independently contribute to explain, in your own particular way, how the memory of the armed revolt was built in those two decades and how this memory relates to feelings such as resentment, its revealing feature of possible, impossible, thinkable and unthinkable paths of remembering and forgetting. Based on your own reflectors and prisms, each movie adopts a way of treating the resentment of the memory and the memory of the resentment.