Mapocho (2006) tells the story of La Rucia, who is in search of her childhood home, through which a series of ghostly images will appear that will become a personal story, intercepted by residents tortured by soldiers, neighborhood pichangas and apparitions of a colonial Chile. La dimension desconocida (2016), is about the story of a torturer, who is committed to revealing the experiences lived during crimes against humanity. To do this, it is the voice of a journalist who scrutinizes the various spaces of hidden memories, which are reactivated as if they were a photo album. This article seeks to analyze the works in connection with the photographic image, the residue and the fragmentation, as a form for the narrative of political violence. For this, an analysis of the elements that weave the conflict of the works is carried out from the elaboration of the knot of political violence through the image as a possible reading key.