The paper presents an analysis of the documentary El padre mio (1985) performed by Chilean artists, Eltit, Lotty Rosenfeld and Juan Forch. The research focuses on the use of archival material recovered by the authors and which forms the basis of the video. The documentary reviews the almighty father figure through Augusto Pinochet's image and its counterpart, a tramp. The voices and images of the forgotten ones by social and economic policies are printed on the body of the archive. In this case, the archive works as a communication device that allows us to visit and think the place of memory in repressive contexts.