This dissertation starts with the Bill Nichols s considerations about the historical relationship between documentary and the discourses of sobriety, and also Jean-Louis Comolli thoughts on the documentary s abilities of being open to the otherness of the real, which disturbs it and convokes it, this paper investigates representations of the real during the 1980 s in Brazil, a decisive moment of the so called political transition that took place after the end of the militar dictatorship. To do so, it analyzes the films Terra para Rose (1987, Tetê Moraes), Linha de Montagem (1981, Renato Tapajós), Céu Aberto (1985, João Batista de Andrade), Que bom te ver viva (1989, Lucia Murat), Cabra marcado para morrer (1984, Eduardo Coutinho), Jânio a 24 quadros (1981, Luiz Alberto Pereira), Mato Eles? (1982, Sérgio Bianchi) and the four episodes series (made by TV Manchete), Japão: uma viagem no tempo (1986, João Moreira Salles). The hypothesis presented is that these films express, in their diversities, the generational shock that the 80 s bring to Brazil, whether by the introduction of video as new form of language, whether by the wear of the discourses of sobriety, whether by the wear of the thoughts about Brazil.