This article studies the sound, voice, speech, and dialo-gue records in three films made during the Chilean Po-pular Unity: the documentary La batalla de Chile (1975) by Patricio Guzman, the fiction feature film Nadie dijo nada (1971) by Raul Ruiz, and the short documentary Ahora te vamos a llamar hermano (1971), also by Ruiz. Under the framework of "sound studies", attention is drawn to the specific materiality of the sound aspect of filmic dis-course and its cultural, social, and political implications. In particular, these voices and speeches-framed within the emergence of the popular subject during the Unidad Popular-represent three different types of conceptions of national and popular fellows: the popular speech as a national symbol, the drunken's dialogues as a useless group of people, and the Mapuche sound as spaces to de-bunking national identity.