Thesis 1: In political cinema of agitation there is a juxtaposition of the old and the new that entails an audiovisual practice in the form of aberration. In this cinema, agitation no longer emerges from new awareness or calls for mass mobilization, but rather consists of putting everything in a trance, including the camera itself, relating the different instances of violence to each other, so that the trance, the crisis or the aberration determines a constructivity that, intervened from the real, produces collective audiovisuals of the Missing People.