This article comparatively analyzes the films Barravento (1962), the first film by Glauber Rocha, emblematic of Cinema Novo, and Ventos de agosto (2014), by Gabriel Mascaro, from the Novissimo Cinema Brasileiro. The focus on the wind seeks to think the relationship between cinema and politics. These two films capture the course of the wind from opposite dimensions -violence or emptiness, the storm or the swirling breeze- that allow us to reflect on the forms of the sensible from the dynamics of the imperceptible.