' ' The New Cinema was an ample and differentiated movement. It did not have a rigid program that it served as dogma to be followed by its participants. It had this yes, action principles politics that had constructed its force in the union and the camaraderie of grupo.' ' (SIMONARD, 2006, P. 19) and these men had defied to be able of the State in the decade of 1960, and had elaborated its films. The image to the times resounds higher of what the words in any pamphlet, it withhold a supreme power, and the media makes use of of this power, in the case of Dry films as Life the scenes make to reflect and estigmatizam the mind. The creators of the New cinema were not worried in showing great historical events, the precision biggest were in following the disfavored classrooms, the small histories that if they uncurl to mounts among the side streets and alleys, since the confines of the hinterland enters caatingas until poludas and interminable streets of So Paulo, the same people, the same difficulty in if living. Films that are produced remain as windows of the times, the load of information are tremendous, either for showing to overturns politics of a simple time or the daily one of a population. The communication that is made between cineasta and spectator bases debates of sociological matrix until today, offering representations of social matrix in different aspects is possible to understand this exchange of information that is made by means of the flmica workmanship. In God and the Devil in the Land of the Sun Glauber Rock used the Brazilian northeast region as scene of its history, in the film we perceive the Pink Odyssey of Manuel and its woman that in the attempt to buy a lot of land leave in a trip until the city to vender some heads of cattle that they finish for dying in the passage, this cause the anger of the colonel who is proprietor of the animals, after a significant Manuel misunderstanding it finishes for killing the colonel immediately afterwards running away with its wife.