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This study proposes a comparative analysis regarding the use of materials from public archives in the documentaries Luz Obscura (2017), directed by Susana de Souza Dias, and Spell Reel (2017), directed by Filipa César. The intention here is to understand the main differences in the way each film works with the issue of social memory of traumatic events. Through a look at the different technical and aesthetic choices of each of the filmmakers in the manipulation and articulation of archival materials to which they had access, a reflection on the reconfiguration of the past time that is carried out in each work will be sought, and its developments in the sense of a contribution to the construction of the imaginary and social memory regarding the Portuguese dictatorial period of the Estado Novo and the counter-colonial liberation struggles in Guinea-Bissau.