This article aims to conduct a brief analysis of the film Memorias del Subdesarrollo by Cuban director Tomas Gutierrez Alea, through the immanent analysis of two images present in the film. Our intention in the article is to understand the colonialist perspective of the character Sergio through his subjectivity immersed in a revolutionary Cuba in which he sees himself as a non-participant, that is, he observes with irony and contempt the historical context in which he is embedded. Sergio is a character placed in the historical time of the films, that is, in the historical-social forms that overlap with the aesthetic dimension of the film. Sergio's body seems to be out of place, observing from a distance what he does not understand and does not want to understand. He is trapped in nostalgia and melancholic memory, that is, he has difficulty accepting change and for this reason his body always appears tired and at the same time excited. His melancholy perhaps resembles a modern pathology alternating between a state of mild euphoria and subsequent moments of anguish.