Animation appears more and more in productions about events related to memory. We aim to analyze the works that incorporate animated scenes to represent the Chilean dictatorship and to deepen the convergence between animation, documentary and memory. From a qualitative perspective, we combine the analysis of animations with interviews with their directors. The results show that animation is a versatile format, which allows authors to overcome the absence of archive images, soften the degree of representation of traumatic events, lower costs, connect memory with new generations and favor the viewer's empathy.