Existed this strong will to finish with the standard American of cinema without content and made to only entertain? excluding in this attribution the director Robert Rosenstone who had the concern in transforming the film into a visual speech. To display mazelas of the humanity in cinema screens already is something used for frequently great cineastas, in Brazil could not be different, in Dry Lives the northeast man remains as protagonist of the poverty, together with its family and children it sets to become vacant for the farms the search of job and housing, finishing for migrar for lands of the south. This migrar for lands of the south something vehement used in such a way in parts of theater how much in citations is that decorate periodical columns, ' ' the exit of the northeastern of its land natal' ' , ' ' it dries it is successful again and it banishes one famlia' ' , the elimination of the hope pursues the history of sertanejo, the nature of these histories permeavam the mind of the men who adentravam the night writing its scripts, desirous in carrying through films that served of information for the people. 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. On the importance to stand out the image in the construction of the historiogrfico debate it mentioned Iron: ' ' It is of if to ask if the necessity of images does not create a displacement, an obstacle in some way to a rational analysis of a description-social situation and the definition of what it must be the information.