In the cinema and literature of the last years - Literatura de los hijos, some will say - there is a predominance of the bodily dimension that was not evident before. Although it is true that the body has always been there, it was repeatedly a symbol and not materiality, it was a witness but not a protagonist. It is within the latest productions that the body, in its most latent and disrupted state, has no longer appeared as the testimony of the dictatorial past of Latin American realities, but as a materiality full of meanings that has come to collapse the predominance of the word and its way of making memory, to point out from the wound - the burn, the scar, the future - its own significance and link with memory. Thus, in some of these productions we see abused, burned, healing, transvestite and animalized bodies that seek to distance themselves from those official stories through a transcendental difference: the voluntary metamorphosis of the body as a symptom - and not as a symbol - of a bodily appropriation. This corpus composed of novels such as Ruido by Alvaro Bisama, Los topos by Feliz Bruzzone; and films such as Los rubios by Albertina Carri and La quemadura by Rene Ballesteros; they point out precisely that: an excess of the bodily dimension that seeks to reestablish the imminent link between memory and body in order to guarantee the place from which the body was stripped.