This transnational study examines representations of and by children—whether literal wounds, psychological ones, or wounds transmitted through drawings—that manifest their capacity for unexpected resistance and justice. It considers the Mexican-American director Guillermo del Toro’s use of hauntings and wounds to explore violence during the 1936–1939 Spanish Civil War in the film El espinazo del diablo [The Devil’s Backbone] (2001) and its intersections on strategic and theoretical levels with the traumatic in archival children’s drawings produced during the 1976–1983 Argentine military dictatorship. The drawings illustrate the violence perpetrated against the child artists’ families and were produced in exile for the human rights organization COSOFAM. Utilizing diverse theories from film and trauma studies, among others, this article analyzes key scenes in El espinazo exhibiting commonalities with representations of traumatic violence in the children’s drawings, revealing that, in fiction and in fact, a strategic “showing” of the traumatic wound is designed to remind others of the imperative to intervene in situations of extreme violence, to appeal to/for justice, and to effectively testify from the inside.