This research investigates the political memories in place in the documentary Rocha que voa, 2002, where the director, Eryk Rocha, returns to the period when his father, Glauber Rocha, was exiled to Cuba as a consequence of the military dictatorship in Brazil. As opposed to exploring the close and/or domestic memories of this relationship, the film opts to focus on the memory of Latin American cinema in the 1960s and 70s through the cinematographic archives and testimonies of filmmakers living at the time. The concepts of habit memory, extended memory and pure memory, proposed by Henri Bergson (1990), was investigated based on the proper consideration of the film. We will analyze how the director s gesture intervens in the filming and, mainly, the film editing, with the help of the electronic image. In this way, we discourse on the use of the audiovisual archives and in the multiplication of its directions when placed in relation with other images and sounds.